NO. 1 WITH A BULLET

The American viceroy in Iraq has changed his tune about the death squads. Zalmay Khalilzad "is now saying that militias are Iraq's No. 1 security threat," Jeffrey Gettleman reported in his striking front-page story on Sunday in the print edition of The New York Times, "Bound, Blindfolded and Dead: The Face of Revenge in Baghdad."

Mutilated bodies seen on Iraqi television after an attack by a death squad in Baghdad. [Reuters Television] And again in another front-pager this morning, "Shiite Fighters Clash With G.I.'s and Iraqi Forces," Gettleman reports: "American officials are now saying that Shiite militias are the No. 1 problem in Iraq, more dangerous than the Sunni-led insurgents who for nearly the past three years have been branded the gravest security threat."

Golly gee willikers, as Rummy Boy might say. Wasn't it Khalilzad, widely hailed in press reports as the U.S. diplomatic genius of last resort, who not so long ago showed less than urgent concern for the problem of the death squads? According to Jon Lee Anderson's lengthy New Yorker profile of him in December, as reported here:

When a Sunni politician came to his office in the Green Zone and told him the Shiite militias "were a greater problem than the insurgency ... Khalilzad raised his eyebrows with interest ... acknowledged that militias were a problem." But, hélas, he had another, more "immediate concern" (terrorists from Syria, who are actually a small fraction of the insurgents according to the U.S. military's own estimate).

Need we be reminded yet again of "the Salvador option" hidden in plain sight? Or the bold-faced contradictions of the American 'ganda machine? Or the Bullshitter-in-Chief's latest phony claims of progress?

If Gettleman needed a reminder, he got one on his return to Iraq two weeks ago after being away for more than a year.

In a third stunning report published over the weekend, he noted: "The first story I covered began with a tip that vigilantes had hanged four suspected terrorists from lamp posts in Sadr City, a Shiite slum. The minute I got to the scene, I realized I was stepping into a new Iraq."

What made it "new" was that the death squads now have free reign, unfettered by governmental restraints and encouraged more than ever by religious and sectarian differences. He writes:

The day after that mob scene in Sadr City, bodies started showing up, first a couple and then dozens. By conservative counts, nearly 200 civilian men have been executed in the past two weeks and dumped on Baghdad's streets. Many have been hogtied. Some have had acid splashed on their faces. Others have been found without toes, fingers, eyes.

Granted, Baghdad is no stranger to the corpse. There were assassinations two years ago, when an entire intellectual class was being wiped out.

But this new wave of executions was different. It was more sadistic and less selective. These people weren't rounded up because they were important. They were tortured and killed simply because of their religion. And because most of them were Sunni Muslim Arabs, there was no response from the Shiite-led government.

Mass murder used to provoke some form of official reaction, however feeble. I remember seeing the Iraqi police seal off areas after big bomb attacks and poke around for evidence. Now, there are major crimes with no crime scenes. Very few of these mystery killings have been investigated, and it isn't for lack of witnesses. Many of these men were abducted in daylight, in public, in front of crowds.

Gettleman is not the first or the only reporter to describe what's been happening, of course. But his reports, which offer unusual intimacy and insight, drive home the criminal reality of the Iraq war. If Americans are finally turning against the war, it's because reports like his have exposed its moral bankruptcy.

March 27, 2006 9:09 AM |

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Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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