A Valentine’s Day / Guantanamo Bay Love Story

“You are the soul of my life. You are the best of my heart. You are the light of my eyes. You are the oxygen in my lungs, you are the sun on my back, the sweetest taste of my mouth you are everything you are everything I need to live, to love, to be… Do you know how much you are important for my life. If you break I will break, if you become weak I will become weak and if you go I will go. You are my soul twin. I need you to be strong.”

From a letter written by Guantanamo Bay detainee Shaker Aamer to his wife / family

Shaker Aamer has been held at Guantanao Bay for nearly 10 years. He has never faced trial, or even been accused of any crimes. A story by The Independent revealed that the UK Government has spent £274,345 fighting Aamer in court, including preventing his lawyers viewing evidence that may prove his innocence and end more than a decade in US custody.

What I love about these Aamer’s words is that they help me cut past the tacky, commercial nature of this faux-holiday and be reminded that the emotion of ‘love’ can hold such a powerful meaning for a person and that it can literarily become a life line. It is easy to forget all this as we simply go through the motions and gestures of acts of love. It is easy to loose sight and feeling for the feelings of love, a longing and gentle openness to another, a memory – imaginary, fictitious, but nevertheless concrete in the emotions it creates, the heartbeats it inspires, the courage it gives birth to. Here, in the midst of our American made horror, live and breath souls that feel love and hold onto it every day simply to remain sane, and alive. How many of us can claim to feel such a love?

Shaker Aamer’s only crime seems to have been that he was what Daryl Li has called ‘…Muslim out of place…’ i.e. an Arab man in a country he ‘should not’ be in and hence suspected of being there for ‘terrorism’ activities. A Li explains in his paper A Universal Enemy? Legal Regimes of Exclusion and Exemption Under the ‘Global War on Terror’ that:

The application of a poorly defined category such as “foreign fighter” to a complex empirical reality of many different “foreign” Muslims necessarily occasions a set of particularly thorny, if not outright confused, problems of governance. Just as the standard refrain that one must distinguish between “moderate” (good) Muslims and “radical” (bad) Muslims presupposes the need to know all Muslims, the concern over foreign (Muslim) fighters necessarily renders (Muslim) foreigners into a categorical object that needs to be known and appropriately dealt with. Before long, however, the object of knowledge as constructed – Muslim foreigners – becomes a source of anxiety in itself. This is the problem of what can be called “Muslims out of place.”

The regime of detentions and torture is an extra-territorial one. It is outsourced, globalized and well funded. It is self-sustaining and self-fulfilling i.e. it finds the people it needs to find to keep it alive and breathing. It is a system that compensates for its mistakes with even more mistakes simply to avoid admitting its earlier mistakes. It seeks its demons and claims to find them, but fears to reveal the basis of that discovery. It inflicts concrete inhumanity (torture, or death, or both) on individuals it accuses of inhumanity, while vehemently denying us a right to see evidence, or even bothering to offer it. It takes messages of love, and transforms them into coordinates for murder.

A quick glimpse into its most efficient international face was given to us a few days ago when the Pakistani supreme court finally remembered its responsibilities to the citizenry and ordered the Pakistani intelligence services to produce and explain its detention of hundreds of Pakistani men. In a small news item on CNN we were told that:

Seven men detained by Pakistan’s spy agency, the ISI, appeared in court Monday in a landmark case that places one of the nation’s most powerful institutions under the scrutiny of its highest court.

The men — who appeared to be in pain and poor health — hobbled into the courthouse, surrounded by dozens of armed police officers and family members. Several of the detainees covered their faces. At least two carried urine drainage bags in their hands.

These are seven of hundreds who have gone missing since 2001 all in the rush to demonstrate Pakistan’s allegiance to the GWOT. Taking a note right our of Dick Cheney’s public admission of having ordered the torture of prisoners in Iraq, Afghanistan and the USA, Pakistan’s President Musharraf bragged about selling Pakistanis to the Americans.

Writer Malcolm Garcia, in a piece called The Missing, described and the fear that surrounds the people of Pakistan living under the shadow of the great war. And the life and work of Amina Junjua, the courageous woman who heads the Defence of Human Rights organization in Pakistan, and who has single handedly been fighting for the release of hundreds of illegally detained Pakistani men and women, including her own husband Masood Junjua, who disappeared in July of 2005 and has not been heard of since.

Two years ago while working on my own project on the human cost of GWOT, I met with Amina Junjua. At one point during our discussions she reached into her bag and produced a family photo album and handed it to me. As I turned the pages and looked at photographs of scenes from family birthday parties, vacation trips, family visits and weddings, some papers fell to the floor. As I reached to pick them up I noticed that one was a card, with a small hand written note. It said:

To My Loveliest Amina, From Massod

It was a Valentine’s Day card, from the years when they were courting.

And we are complicit in all this. We Americans. An Amnesty International report titled Denying The Undeniable: Enforced Disappearances in Pakistan explicitly points out that:

Many of those unlawfully held at the US detention centre in Guantánamo Bay, and those who have been held in secret CIA custody were arrested in Pakistan. Others were unlawfully transferred from Pakistan to countries where they faced torture and other ill treatment.

Many people who have been secretly held in detention centres in Pakistan say they were interrogated by Pakistani intelligence agencies, but also by foreign intelligence agents.

As I read about Aamer Shakur, and his brutal treatment in our gulag in Guantanamo Bay, I could not help wonder how it had all come to this. I could not help wonder how fear and paranoia, mixed with religious and ethnic bigotry (Do we not protests because our drones are only killing ‘foreign’ American citizens, and other foreigners!), came together to create this mess of a situation. I could not help but think how easily it had all slipped from high ideals (rule of law, our values, Geneva conventions, liberty, democracy etc. etc.) to low farce, with dozens of otherwise civilized nations collaborating and participating in this theatre of the ridiculous.

In an powerful Op-Ed piece in (the otherwise pusilanimous New York Times) Eric Lewis demanded an end to these practices, and an end to collabration with the lawless USA, pointing to the case of two Pakistani rice merchants picked up in Iraq and held, without charge, trial or access to legal advice, for seven years (more Muslims Out of Place!)

The Fourth Geneva Convention prohibits prisoners from being shuttled around like cattle into and out of occupied territories and zones of active combat. “Unlawful deportation or transfer” or “unlawful confinement” of a protected person violates the Convention — so does rendition of detainees into a zone of active combat.

These men were transferred from one war zone to another, yet the United States has cynically pointed to the fact that they are being held in a war zone to preclude any oversight by courts into the detention of these, and hundreds of other, prisoners. America’s treatment of these men violated the Geneva Conventions, and Britain has aided and abetted those violations.

The Independent has published excerpts of letters that Shaker Aamer wrote home. Despite a near decade of torture and a daily regime meant to break his soul, he writes:

My sweetheart, yes I lost a lot of weight, yes I have a lot of sickness, yes I got short sight, yes my bones are aching, yes I got white hair, yes I got old but I love to tell you my heart is still young, my mind still strong, stronger than ever.”

Happy Valentine’s Day.

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Ideas, Inspirations and Still A Time For Dreaming

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Sitting this morning in Lahore I am dreaming of Africa, of borders, and of other things that distract.

Ben Rawlence’s book Radio Congo: Signals of Hope From Africa’s Deadliest War arrived in the mail today. I had met Ben in New York some weeks ago at a dinner sponsored by the Open Society Institute. Ben is an Open Society Fellow this year and working on a new book about life in the Dadaab refugee camp in Somali. While speaking to him I mentioned that I was now living in Kigali, Rwanda, and was soon on my way to shoot a short assignment in Eastern Congo. Ben graciously offered to send me a copy of this work – a personal journey to the fabled city of Manono in Eastern Congo. The journey by foot, bike, and boat becomes a meditation on the history of the region, colonialism, the post-colonial dreams and the nightmares that replaced them, and about a new world emerging from a history that looks chaotic, but has its own trajectory and logic.

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Against Whispering

Simon Norfolk.

I was so confident that I had written about his work on this blog that I even suggested to some of the students working with me on my Justice In Pakistan project to do a search on this, The Spinning Head, blog and take a look at his work. When they came back a few days later and pointed out that their search yielded no results I was surprised, and embarrassed. It was inconceivable that I have never discussed Norfolk’s work in all the years that I have been writing this blog. It was later that I realized that I had planned on writing about him, in particular his recent work in Afghanistan, and had decided to wait until after I had reviewed his latest project. And then I never got around to it. I want to fix this terribly oversight and write about his work now.

About two years ago I received an email from Simon that said:

I’m a big fan of your blog and in particular your thoughts about embedding in Afghanistan. Which was why I went and embedded in Afghanistan! I’d like to show you the results, it’s following in the footsteps of John Burke, a photographer who was there in 1880; can I mail you a copy of my book? Can you send me an address? I’d love to hear your thoughts, good or bad.

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Towards Other Possibilities…

Memory is myth. And one of the most powerful myths that I constructed about my life was about the moment when I realized that I had become stuck in New York, and that my life was simply drifting along without my really being aware of how or why. Don’t get me wrong – New York was and remains my favorite city. There wasn’t a moment in the day that I wasn’t busy either with work or friends or exploring its different neighborhoods and possibilities. I loved it for its unpredictability, its complexity and its infinite surprises. I felt more alive and involved while living there than anywhere else. But it wasn’t until the moment that I read Benjamin Kunkel’s first novel Indecision that I realized that I had gotten it so wrong. Its actually not even a great novel, but nevertheless, it was a fun read. I read for distraction, and remember basically getting bored of the work somewhere half way through. Regardless, it was funny, incisive and deliciously celebratory of the delinquent lifestyle. It was one of the first of many novels I was to read where the protagonist is simply rebelling against his assigned responsibilities in life and choosing instead to waste his days and ambitions lounging around, getting high, and contemplating nothing. Upamanyu Chatterjee’s hilarious English, August remains one of my favorite in this particular genre of literature. Details »

George Osodi – The Niger Delta / The Kings Of Nigeria

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I am enjoying this new series that Al-Jazeera is running – Artscape: The New African Photographers. Its not just it is a sheer pleasure to hear new and different voices in photography – the European and American obsession with a few handful of the same old voices, largely selected by bored editors from agencies such as Magnun, VII or Noor etc, becoming quite tiresome and banal. It was simply lovely to hear Osodi talk about his work, about how he began it, and how he sees and understands the issues that he is trying to represent.

 

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Only The Poetry Remains…

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They buried her and sent a message to Ranjha saying, ‘The hour of destiny has arrived. We had hoped otherwise but no one can escape the destiny of death. Even as it is written in the Holy Quran, ‘Everything is mortal save only God.’

They sent a messenger with the letter and he left Jhang and arrived at Hazara, and he entered the house of Ranjha and wept as he handed the letter. Ranjha asked him, ‘Why this dejected air? Why are you sobbing? Is my beloved ill? Is my property safe?’

The messenger sighed and said, ‘That dacoit death from whom no one can escape has looted your property. Heer has been dead for the last eight watches. They bathed her body and buried her yesterday and as soon as they began the last funeral rites, they sent me to give you the news.’

On hearing these words Ranjha heaved a sigh and the breath of life forsook him.

Thus both lovers passed away from this mortal world and entered into the halls of eternity. Both remained firm in love and passed away steadfast in true love. Death comes to all.

The world is but a play and fields and forests all will melt away in the final day of dissolution. Only the poet’s poetry remains in everlasting remembrance. for no one has written such a beautiful Heer.

From Waris Shah’s Heer & Ranjah

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Exhaustion / Capitulation / Rejection /

I am tired of myself.

I have been tired of myself and the constant need to confront, challenge, critique, analyze, study and evaluate the works of others.

I am tired my instinct to constantly be alert against reductive histories and banal simplicities that seem to pervade what passes for the photojournliasm industry. Details »

The Subjectivity Of It All

Photojournalism remains a deeply subjective craft – the act, the craft, the technique, the entire business enterprise (from stories selected, assigned, produced, photographed, published, produced, awarded etc.) relies on a series of subjective choices and prioritization. That is, photojournalism, much like any journalism, is fundamentally a human act of exploration, investigation, articulation, documentation, explanation, argumentation, and presentation (not necessarily in that order) and carries within it, as in all human enterprises, a series of human choices, selections, eliminations and and prioritization. And hence, carries within it the fundamental characteristics of all human and humanistic knowledge and endeavors, and that as Edward Said argued:, we can:.

…acquire philosophy and knowledge, it is true, but the basic unsatisfactory fallibility of the human mind persists nonetheless. So there is always something radically incomplete, insufficient, provisional, and arguable about humanistic knowledge that…gives the whole idea of humanism a tragic flaw that is constitutive to it and cannot be removed.

(Said, Edward Humanism And Democratic Criticism, Page 11-12)

Every serious, responsible photojournalist who steps into the world to report and say something about it works to mitigate the problem of human fallibility by proceeding with a determination to report issue fairly, and to document and communicate their findings honestly, comprehensively and ethically. That is, the only thing that allows us to take any photojournalism project seriously is the belief that the reporter has carried out her task with a dedication to these principles. It is also one of the reasons why mainstream news outlets remain so critical to the process – they offer the reputation and trust that allows us to take any reporting from the field seriously.

Ironically, this is the one aspect of photojournalism that news photography and photojournalism contests do not focus on. In fact, there is a near absolute focus on the aesthetics of an image, and little or no focus on evaluating the veracity, accuracy, reliability, and rigor of a photojournalism story. Most of the controversies that emerge during the photo competition season tend to center around issues of aesthetics, as when a number of people voiced concern that Paul Hansen’s World Press Photo competition winning image was over manipulated or adjusted differently for the competition than from when it first ran in the newspaper. Each year, at the end of the major photojournalism competition season, we see a whole host of these complaints and concerns being expressed, with many people expressing outrage at the level of image processing, and adjustment in various winning images. In fact, the only reason an ethics controversy occurred this year was because of a group of bloggers and researchers directly and indirectly invovled with the story produced by Paolo Pellegrin cried foul. Details »

On How Not To Speak About Photojournalism Or Anyone Notice We Are Still Human?

In his book Humanism and Democratic Criticism Edward Said writes about a writer’s congress convened in New York by The Nation magazine. The congress organizers left open the question of who was a writer and why he or she was qualified to attend. As Said tells it, literally hundreds of people turned up at the event, crowding up the room to ‘…almost to the ceiling.’ Soon a debate ensued about the definition of a writer in order to help select members to a writers union and to determine who could vote in the congress. I let Said’s word tell us what followed:

Not much occured in the way of reduced and manageable numbers: the hearteningly large mass of people simply remained immense and unwieldly since it was quite clear that everyone who came as a writer…stayed on as a writer…

I remember clearly that at one point someone sensibly suggested that we should adopt what is said to be the Soviet position on defining a writer, that is, a writer is someone who says that he or she is a writer. And I think that is where matters seem to have rested…

And so there we have it – a writer is someone who says that he or she is a writer. In a world with near ubiquitous access to a computer, the Internet, language and grammar, practically everyone is a writer and can string together a series of sentences to justify that claim. But Edward Said offers this anecdote to build his argument that in fact, not everyone is a writer / intellectual (in his original piece, he conflates those two). and though never offers a clear set of criteria, there follows a paragraph that I believe captures his argument for the need for a differentiation. He argues that:

To answer the question of why, in this and other similar contexts [on discussing why people, despite massive repression, continue to fight] individuals and groups prefer writing and speaking to silence, is equivalent to specifying what the intellectual and writer confront in the public sphere. What I mean is that the existence of individuals or groups seeking social justice and economic equality, who understand that freedom must include the right to a whole range of choices affording cultural, political, intellectual, and economic development…will lead one to a desire for articulation as opposed to silence. This is the functional idiom of the writer / intellectual vocation. The intellectual therefore stands in a position to make possible and further the formulation of these expectations and wishes.

What is striking about this argument is its focus on the individual’s sense of responsibility. The fact that Said places at center stage a set of human aspirations and ideals – equality, freedom, and justice, to differentiate those who have the tools and technology to write, and those who are writers. And I would argue, that it is such a set of human aspirations and ideals that raises one from being merely a photographer, to being a photojournalist. Details »

Recycling Myths To Remember A War

You cannot report a war from the front lines. You can only report a battle. Ducking under fire, scared for your life, beholden to the largess and tolerance of the military forces you are traveling with, denuded of context, obsessed with the immediate action unfolding in front of you, while constantly keeping an eye over your shoulder for the ‘enemy’, riddled with panic, fear, doubt, and worry a reporter on the front line struggles to keep up with unfolding events. Like watching a movie, she is unable to see and think simultaneously – she can merely report the immediate, the literal, as it unfolds in front of her. And an embedded reporter is in an even worse position – trapped not only physically, but also ideologically and with the constant fear of being ‘locked’ out if she fails to tow the line.

But wars are not merely the combat and journalism isn’t only about reporting the battles. In fact, when it comes to wars, one could safely argue that the battles are the least interesting pieces of information, and the most misleading. They tell us nothing about how we got into the war, the broader social, political, economic, cultural and individual devastation they unleash, the millions of lives of ‘the enemy’ that are torn asunder, the suffering of those left in the wake of the war machine and the festering and degrading realities that emerge as a result of the occupations and repressions that necessarily follow.

The focus on the battles distracts from the war itself – its reasons, its objectives, and lets be honest, its real consequences for those who were trampled under it. And certainly when it comes to wars of choice, those that our leaders led us into on the basis of lies, journalists have to accept that the front line is in fact the worst place to report as it is most distant from where one can make the inquiries and investigations, understand the realities and histories, that went to make the war, and that plague the came in the aftermath.

But of course, photographers need ‘action’ and ‘events’, and the medium cannot comprehend many of these complexities is then left documenting only the most obvious, and literal manifestations of a conflict – the violence itself. But violence tells us nothing, nor does it really tell the story of a war. As was evidenced by most all the photo slide shows that recently appeared to ‘commemorate’ the 10th anniverary of the American attack on Iraq. Most all simply focused on the battles, the soldiers, the weaponry, the casualties – the front line where truth is in fact practically impossible to find. Details »

An Idea Of The Modern

The writer Amit Chaudhuri, someone whose works I have long admired, recently gave a short interview to The White Review where he discussed his new work Calcutta: Two Years In The City. The interview, conducted by Anita Sethi, takes place, we are told…

…almost 5,000 miles away from Calcutta: we meet in central London one freezing cold day in February.

And yet she claims that despite the distance – in geography, experience and I would argue urban imaginations, Chuadhuri’s conversation allows them to be…

…imaginatively transported into the heat of Calcutta, the central character of the new book, which the author explores in all its complexities and contradictions. One can almost see, smell, taste and touch the life of the city’s streets and its inhabitants.

What follows is a fairly ordinary interview – probably commissioned as a result of Chaudhuri’s publisher’s efforts to get him exposure for his new work in the all-important market of the UK, where he discusses his thoughts of the Indian modern, literary influences and his reasons for writing the book.

What was really striking about Chaudhuri’s responses was that all his references – whether literary and others, were Western. There is no non-European here, let alone an India, an Asia or even something remotely related. Details »

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