General Kelly is back in the news. He yesterday announced that he has no reason to apologize to Congresswoman Wilson, also that Robert E, Lee was a hero, since “It was always loyalty to state first back in those days.” This last pronouncement would have startled both the 115, 000 Southern whites who enlisted in the Union Army and their 180,000 or so black comrades, the vast majority of them southern, who also bore arms for the United States.
Despite a lot of persiflage to the contrary, Donald Trump is sometimes a remarkably cautious man. Yesterday he was able to see many sides to the controversy down in Charlottesville, and was strikingly careful about inflaming any of them.
Game of Thrones’ show runner David Benioff and his collaborator D.B. Weiss announced on July 19th that HBO had commissioned Confederate, elsewhere described as an alternate history drama imagining, among other things, slavery in a Confederacy surviving into our own day. An immediate twitter storm ensued, followed within few hours by the first of three NYT articles about the tweets, two of them enlivened by serial fatuities from notional experts—after all, there are no experts on television programs that have not yet been written, nor on history that didn’t happen.
I shall describe and attempt to interpret a difference in representations of war in two television series made by the same people about the same war, Band of Brothers, which aired in 2001, and The Pacific, which aired in 2010. I hope to show that despite influential argument to the contrary—most notably Paul Fussell’s celebrated The Great War and Modern Memory—it is imprudent to make strong historicist or contextualist claims that the transformed nature of war since 1914 is a sine qua non for explaining modern ironic and anti-heroic representations of combat.
Adapted from the 17th annual Bozeman Lecture at Sarah Lawrence College.
Un village français, a French television serial, was first broadcast on France 3 in 2009; the channel began showing the serial’s seventh and final season in October of 2016, and at the end of its run sixty-six episodes had been broadcast. Around the time it first appeared a Francophone friend recommended it as startlingly good TV, but warned that subtitled versions other than one season with French subtitles had proved impossible to locate. The belated appearance of a version subtitled in English is a very welcome gift. Along with the policier Engrenages, which stars several of the same actors, Un village français made even malevolent foreigners concede that French TV, under de Gaulle sometimes pilloried as a medium specializing in documentaries about beehives, had no reason to fear comparison to any televisual culture in the world.
Underground Airlines by Ben Winters. Little, Brown and Company, 2016.
Googling “Trump fascist” yields 25 pages of hits and the caveat that “In order to show you the most relevant results, we have omitted some entries very similar to the 237 already displayed”.
Originally published in the print version of “First of the Month” in the 60th Anniversary year of V-E Day.
The Mamayev Kurgan, the highest ground in the city now called Volgograd, is the site of the memorial to the battle still called Stalingrad.
Andrew Fletcher of Saltoun observed that “if a man were permitted to make all the ballads he need not care who should make the laws”. Lin-Manuel Miranda’s Hamilton is now testing an expansion of this proposition: if you could make all the ballads, need you care what is taught in the schools?
P.W. Singer and August Cole have just published Ghost Fleet: A Novel of the Next World War.
In 2006 Charlie Hebdo republished the Jyllands-Posten cartoons (as did First of the Month), and were sued by three Muslim organizations. This attempted use of the courts to punish speech did not provoke any memorable censure by the people who have recently protested PEN’s decision to honor the courage of the journalists who worked (and then died) at Charlie Hebdo. In that same year Alberta’s Human Right Commission investigated a newspaper (the Western Standard) over its republication of the cartoons; defending itself cost the Western Standard $100,000 (which would have bankrupted First of the Month many times over) and cost the organizations making the complaint nothing—by no means an inefficient approach to suppressing speech. Teju Cole and his allies within PEN seem to have let this episode, too, pass without comment. On November 2, 2011 the offices of Charlie Hebo were firebombed, which seems to have yet again failed to provoke any indignation from Cole, Prose or the rest. On January 7th Islamist murderers shot dead twelve people in the offices of Charlie Hebdo, and at this point Teju Cole could no longer keep silent. In a piece titled “Unmournable Bodies”, which was published in the New Yorker a few days later, he attacked the dead journalists.
As more than twenty-five million Americans now know, American Sniper dramatizes the life of Navy Seal Chris Kyle, who with 160 confirmed kills and 255 probables became the most lethal sniper in our history. An imperfectly-successful rodeo rider, Kyle enlisted at the age of thirty after hearing about Al Qaeda’s embassy bombings in 1998. Almost immediately after marrying he served four tours in Iraq, retired, contended with PTSD, and began helping other veterans by taking them shooting, one of whom murdered him. There is not even a whisper of a rumor that Kyle committed any war crimes in Iraq. This might have made American Sniper an unlikely film to have excited the savage moralizing that the newspapers began reporting within days of the its release (“How Clint Eastwood’s ‘American Sniper’ stoked the American culture wars”, in the Washington Post shortly after the film’s release, another such in the New York Times, and since then a lot more). Eastwood’s Americans neither commit atrocities which Eastwood then excuses—the charge leveled against Zero Dark Thirty—nor do they suffer any, real or invented, which might plausibly stoke Islamophobia. The only atrocities committed by Eastwood’s Iraqis are committed upon one another, and the only Iraqi atrocity we see committed is the punishment of an informer, clearly intended to discourage others. While very ugly—the scene shows a Sunni insurgent threatening a child and then murdering an adult with an electric drill—atrocious reprisals against informers are proverbial in most insurgencies. Kyle calls the insurgents ‘savages’, and although the word has provoked a lot of indignation it surely ranks pretty low on the scale of offensive things soldiers have called one another, and may not be absolutely unforgiveable in a character contending with child suicide bombers and electric drill murders.
J.M. Shaw has now published a second novel, Ten Weeks in Africa. It feels significantly bleaker and also more intricate than his first, but it is also an often-satirical novel of politics. Ten Weeks In Africa is set in an imagined and renamed version of Kenya with a bit of Uganda added to the mix, and its non-African characters are mostly British or Pakistani, but the kind of pseudo-politics Shaw is satirizing have an unhappy relevance for Americans. Professed and even sincere good intentions mean much less than we hope they do, a point Shaw makes repeatedly in Ten Weeks In Africa: his novel’s most effective hero is a businessman who, among his other enterprises, bribes police officials to allow his employees to steal tourists’ luggage from an international airport. This businessman’s newest employee, a small boy unhappily resolved to help notorious thieves in order to buy medicine for his dying mother, seems on first encounter to have fallen into an African Fagan’s hands, but we slowly realize that the boy is now working for a man who is in effect an unsentimental, wholly modernized and absolutely plausible version of one of the Cheerybles, the benevolent merchants from Nicholas Nickleby…
Politics in the United States and Great Britain are again marked by intense hostility toward the expanded role of modern liberal states. Since most opponents of public investment are simultaneously enthusiastic consumers of many of its results—for example, public education—the feebleness of most defenses of public investment is usually hard to understand. But not always, because it is notoriously difficult to persuade people one cannot be bothered to understand, or toward whom one is visibly contemptuous.
The fallacy that great events have great causes tempts both film critics and civilian interpreters to explain mass ticket sales in pretty grandiose terms. Avatar, touted to displace Titanic as the movie with the biggest box office gross in history, has provoked this impulse with a vengeance.