The Military-Literary Complex by Elliott Colla Or How Our Stories Are The Only Stories

A massive new project to create a ‘canon’ of the Iraq was in the works and recently published with much fanfare. It received support from The National Endowment for the Arts—“in coordination with all four branches of the Armed Forces and the Department of Defense,” the Veterans Administration, the Library of Congress, the Southern Arts Federation, The Writer’s Center, Random House Books, and the Boeing Corporation….

The Military-Literary Complex.

Even now, even after all the evidence in front of us, even after over a decade of lies, obfuscation, and narrative narcissism – the fundamental nature of most any writing coming out of the West about the wars in Iraq, Afghanistan, Syria, Libya, Somalia – there are people who attempt to defend the embed model of journalism.

As Colla writes

During the invasion and occupation of Iraq, the embedded model invited civilian journalists into military units and in the process produced a dubiously framed story about humanity and violence. The embedded model of literature works conversely. Now, a network of military-literary partnerships invites ex-soldiers into civilian publishing through a system of training, mentoring and special access. As Sinan Antoon has argued, the arrangement reproduces the same kind of story we read a decade ago, though now with serious literary credentials. In the new war canon, the Iraq invasion and occupation again appear as almost exclusively American events. Again, Iraqis are largely absent from the frame. Again, torment and pain—and humanity—belong to US soldiers rather than Iraqi civilians. Again, the war and its rationale may be available for critique, but only in a very limited way. Like the failure of embedded journalism before it, the failure of embedded literature is one of imagination and research.

…and I would argue, in the case of photojournalism, a failure of ethics, integrity, empathy and serious journalistic professionalism. It was, and remains, an act of economic and individual cowardice, capitulation and convenience. Most all attempt to explain it as a necessity, or try to offer some reasons for why it was valuable, but even they know that they are merely decorating garbage with tinsel in the hope of distracting us from what was really produced, how it was produced, and what political and propaganda objectives it was produced for.

But as Colla points out, the fraud hasn’t ended. The need of this nation to continue to believe in its purity of arms, its innocence of soul – a need that seems to be necessary to veil the violence and brutality that underpin sustaining its ‘way of life’ and ‘economic necessities’, requires a constant supply of pap and pompous propaganda.

As Jim Nielson asked in his book “Warring Fictions: Cultural Politics and The Vietnam War Narrative.”

But the question remains: how, against the best efforts of so many, did a war once perceived as a nearly genocidal slaughter to perpetuate American neo-colonialism come to be viewed as an American tragedy? And to what extent have cultural and in particular literary representations of the war helped in that transformation? It could be argued that Vietnam War novels and memoirs have contributed significantly to this process, since they reach an important readership – the editors, publishers, writers, pundits, and professors who make up America’s intellectual class. By promoting a literature that favors individual lives over historical contingency, and textual sophistication over social analysis, this class has helped reproduce, not merely in the small audience of serious fiction writers but in the general public as well, a simple and ideologically unthreatening view of the war

Well, here lie answers for how our modern wars – each a war of choice and pre-emption, each sustained on lies and deceits, are transformed from the murderous realities that they are into tales of heroic achievements and national traumas.

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From “Headmen” To “Hitmen”–A People Brutalised Yet Again

Another photographer turns up at another manufactured ‘traditional’ geography, and produces another set of racist, reductive and entirely fake set of images. I don’t mean ‘fake’ in the way that most photographer’s get all concerned about. I mean ‘fake’ in a much more serious way, one that reduces people to social, political and historical caricatures and makes them into concocted objects for class titillation and voyeurism. And this American magazine–mired deep in the heart of American imperialism, its violence and its brutality–publishes the images and accompanies them with what can only be described as one of the most incredibly ahistorical, obfuscatory and infantile articles I have read outside of stuff frequently published by Time Magazine and/or The New York Times.

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Thomas Sankara’s Restless Children

The project is now complete. Although, we may never really complete the telling of this remarkable story. You can see the project by clicking on this link here, or on the image below.


Eyes Of Aliyah–Deport, Deprive, Extradite Initiative By Nisha Kapoor

I have publicly and on this forum very explicitly argued against the strange ‘disappearance’ of black/brown bodies that are the actual targets and victims of our ‘liberal’ state policies of surveillance, entrapment, drone assassinations, renditions and indefinite detention. I recently argued:

“Western visual journalism, and visual artists, have erased the actual victims of the criminal policies of the imperial state. Instead, most all have chosen to produce a large array of projects examining drone attacks, surveillance, detentions and other practices, through the use of digital abstractions, analogous environments, still life work or just simply the fascinating and enticing safety of datagrams and charts. Even a quick look at recent exhibitions focusing on the ‘war on terror’ or wars in general, have invited works that use digital representations of war, or focus on the technologies of war. An extreme case of this deflection are recent projects on drone warfare that not only avoid the actual brown/black bodies that are the targets of deadly drone attacks, but are not even produced anywhere near the geographies and social ecologies where drone attacks continue to happen! Yet, these works have found tremendous popularity, though i remain confused what kinds of conversations or debates they provoke given that the voices of the families of those who have been killed, are not only entirely missing, but people who can raised the difficult questions about the lies and propaganda that are used to justify the killings, are also entirely missing.”

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Public Release of “The Sinner”

This is my first feature length documentary film and we–Justice Project Pakistan, with the guiding support of Sarah BelalRimmel Mohydin and others at Justice Project Pakistan, are finally releasing it.

And we are doing it first in Pakistan.

The film takes us into the world of capital punishment in Pakistan through the life of one man; Jan Masi. Jan Masi worked as an execution for nearly 30 years, and claims to have executed over 1800 people. He started his work in the enthusiastic pursuit of revenge for the execution of Pakistan’s Prime Minister Zulfiqar Ali Bhutto.

This isn’t a typical documentary film. No talking heads. No linear story-telling. No polemics or moral grand standing. No righteous exclamations against capital punishment. Instead, Jan Masi, his life, his scars, his fears and despair, act as metaphors for the meaning of capital punishment in Pakistan, and the consequences it has on the broader Pakistani society.

Sudhir Patwardhan

Sudhir Patwardhan.

Can you discover ‘an influence’ after the fact?

What do you call someone who seems to embody your eye, your sensibility, and yet you had never seen his / her work, and yet, when you now see it, you see the ‘influence’…the similarities?

Is he confronting the same questions? Is he seeing this incredibly complex and multi-layered world with the same desire to depict it as close to that complexity as possible?

I was taken aback. The aesthetic pursuit is so familiar. It is as if he is a step ahead of me. He is a step ahead of me.

I am going through these images–gorgeous, striking, unique, and no, I refuse to give you some ‘European’ reference to understand them in any way. They are Patwardhan’s and his alone. But I want to make them as photographs.

They are the photographs I would make if in Mumbai. It is beautiful stuff. It makes me want to go and make photographs.

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Make It Right For Palestine, November 4, 2017

Be there. Hyde Park. Speaker’s Corner. London. 12:00 noon. 4th November, 2017.

The Polis Project…Is Up And Running

If you can’t join them, then just do it on your own.

We launched a new collective focused on research, reportage and resistance. The specific goals and objectives are being developed as we speak, but the idea is a simple one: to collect under one banner a group of individuals from different fields – artists, writers, academics, photographers, intellectuals, poets and others, who are consistently working against the grain. In this time of collective conformity, and a media sycophancy to power and extremism, some of us felt the need to create a small space where people are still determined to refuse the agendas of political power, debilitating capitalism, nationalist extremism and neoliberal idiocy, and remain fools in their hearts, and idealists in their souls.

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Short Doc: “As If A Nightmare”;The Story Of Former Bagram Prisoner Abdul Haleem Saifullah

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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Short Doc: “Prisoner 1432” – The Story of Former Bagram Prisoner Amanatullah Ali

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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10 Things To Consider…

I recommend that photographers, photojournalists, documentary photographers remember these wise words by Tania Canas, RISE Arts Director / Member – I am copying and pasting it here. As brown and black bodies are stripped of their clothing, as brown and black children are dehumanised to mere misery, as brown and black women are reduced to simply victims, as ghettos and brothels and refugee camps and slums become the ‘paint by number’ formula for White photographer’s career and publishing success, it becomes increasingly important that those of us on the receiving end of White ‘largesse’ begin to build obstacles, speak back, and refuse / reject these ‘representations’ and their reductive, violent and brutal narrative frames. We have lost too much, and are in danger of whatever little we have left as humans and as histories, if we permit this process to continue.

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