{"id":700,"date":"2004-05-22T11:42:23","date_gmt":"2004-05-22T18:42:23","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/05\/look_ma_no_hands\/"},"modified":"2004-05-22T11:42:23","modified_gmt":"2004-05-22T18:42:23","slug":"look_ma_no_hands","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/05\/look_ma_no_hands.html","title":{"rendered":"LOOK, MA! NO HANDS!"},"content":{"rendered":"<p><P>More essential reading: Susan Sontag has Sunday&#8217;s&nbsp;cover story of&nbsp;The New<br \/>\nYork Times Magazine. It&#8217;s a thoughtful, elegant essay called <A class=inline\nhref=\"http:\/\/www.nytimes.com\/2004\/05\/23\/magazine\/23PRISONS.html\"\ntarget='new\"'><B><EM><FONT color=#003399>&#8220;The Photographs Are<br \/>\nUs.&#8221;<\/FONT><\/EM><\/B><\/A>&nbsp; Here&#8217;s a reminder that at Straight Up,&nbsp;blogged on<br \/>\nthe fly (on the gadfly?) &#8212; we sometimes log on while still rubbing sleep from our eyes &#8212; our<br \/>\ntiming seems right even if it somehow keeps&nbsp;us from&nbsp;writing long, considered essays.<br \/>\n<BR><BR>In <A class=inline\nhref=\"http:\/\/www.artsjournal.com\/herman\/archives20040501.shtml#77893\"\ntarget='new\"'><B><EM><FONT color=#003399>&#8220;The Duck in the<br \/>\nRoom&#8221;<\/FONT><\/EM><\/B><\/A>&nbsp;(May 7),&nbsp;we wrote:<\/P><br \/>\n<BLOCKQUOTE>The T-word &#8212; &#8220;torture&#8221; &#8212; was studiously avoided by all in more than three<br \/>\nhours of the Senate Armed Services Committee hearing on Treatment of Prisoners in Iraq.<br \/>\nExcept, that is, for Sen. Edward Kennedy, who forthrightly spoke of &#8220;torture and abuse.&#8221; The<br \/>\nclosest Secretary of Defense Donald Rumsfeld came to using the T-word was when he said<br \/>\ncompensation might be made to Iraqi prisoners who suffered &#8220;grievous and brutal abuse and<br \/>\ncruelty.&#8221; By any other name that&#8217;s &#8220;torture.&#8221; The old rule applies: If it walks like a duck, talks like<br \/>\na duck, looks like a duck, etc.<\/BLOCKQUOTE><br \/>\n<P>We cited Rummy boy&#8217;s circumlocutions for the T-word: the <I>&#8220;terrible activities&#8221;<\/I> for<br \/>\nwhich, he said, &#8220;I feel terrible&#8221; as he offered his &#8220;deepest apology to Iraqis who were<br \/>\n<I>mistreated<\/I>.&#8221; And the way Gen. Richard Myers, chairman of the Joint Chiefs, barely<br \/>\nskirted the word torture &#8212; but skirt it he did &#8212; by calling it <I>&#8220;prisoner abuse&#8221;<\/I> that was<br \/>\n<I>&#8220;appalling, unconscionable and unacceptable.&#8221;<\/I> And the way Lt. Gen. Lance Smith, deputy<br \/>\ncommander of the U.S. Central Command in Iraq, substituted the word <I>&#8220;mistreatment.&#8221;<\/I><br \/>\nAnd Lee Brownlee, Acting Secretary of the Army, applying the term <I>&#8220;detainee abuse&#8221;<\/I><br \/>\nthat was, alas, <I>&#8220;tragic and disappointing.&#8221;<\/I> And Gen. Peter Schoomaker, Army Chief of<br \/>\nStaff, offering the summary that it was, not systemic and certainly not torture, but rather the<br \/>\n<EM>&#8220;inexcusable behavior of a few.&#8221;<\/EM> [The italics are ours.]<\/P><br \/>\n<P>We are glad to see Sontag&#8217;s thoughtful, elegant essay as a follow-up, beginning with her<br \/>\nsecond paragraph: <\/P><br \/>\n<BLOCKQUOTE>The Bush administration and its defenders have chiefly sought to limit a<br \/>\npublic-relations disaster &#8212; the dissemination of the photographs [from Abu Ghraib] &#8212; rather than<br \/>\ndeal with the complex crimes of leadership and policy revealed by the pictures. &#8230; There was also<br \/>\nthe avoidance of the word &#8220;torture.&#8221; The prisoners had possibly been the objects of &#8220;abuse,&#8221;<br \/>\neventually of &#8220;humiliation&#8221; &#8212; that was the most to be admitted.<\/BLOCKQUOTE><br \/>\n<P>She then goes on in the third paragraph of her thoughtful, elegant essay to our duck analogy,<br \/>\nciting &#8220;the definitions of torture contained in a convention to which the United states is a<br \/>\nsignatory: <I>&#8220;any act by which severe pain or suffering, whether physical or mental, is<br \/>\nintentionally inflicted on a person for such purposes as obtaining from him or a third person<br \/>\ninformation or a confession.&#8221;<\/I> [The italics are hers.]<\/P><br \/>\n<P>And in her fourth graph, Sontag notes:<\/P><br \/>\n<BLOCKQUOTE>Whatever actions this administration undertakes to limit the damage of the<br \/>\nwidening revelations of the torture of prisoners in Abu Ghraib and elsewhere &#8230; it is probable that<br \/>\nthe &#8220;torture&#8221; word will continue to be banned. To acknowledge that Americans torture their<br \/>\nprisoners would contradict everything this administration has invited the public to believe about<br \/>\nthe virtue of American intentions and America&#8217;s right, flowing from that virtue, to undertake<br \/>\nunilateral action on the world stage.<\/BLOCKQUOTE><br \/>\n<P>When we take the pulse of reality &#8212; that is, developments in the Land of Is, as we like to call<br \/>\nit &#8212; we get our ideas from the news. In <A class=inline\nhref=\"http:\/\/www.artsjournal.com\/herman\/archives20040501.shtml#78221\"\ntarget='new\"'><B><EM><FONT color=#003399>&#8220;Chew on This&#8221;<\/FONT><\/EM><\/B><\/A><br \/>\n(May 11), we wrote that &#8220;unspoken racism&#8221; was to our mind &#8220;a factor in what happened at Abu<br \/>\nGhraib.&#8221; (How could it not have been, given the war climate of demonization?) And we cited that<br \/>\nmorning&#8217;s essay by Luc Sante on the op-ed page of The New York Times, in which he noted the<br \/>\nsimilarity of the torture photos at Abu Ghraib to old lynching photos of African-Americans. Both<br \/>\nkinds of photos were, in his words, &#8220;trophy shots.&#8221; He wrote:<\/P><br \/>\n<BLOCKQUOTE>Like the lynching crowds, the Americans at Abu Ghraib felt free to parade<br \/>\ntheir triumph and glee not because they were psychopaths but because the thought of censure<br \/>\nprobably never crossed their minds.<\/BLOCKQUOTE><br \/>\n<P>Sontag agrees with Luc Sante, though not by name, in her thoughtful, elegant essay. She<br \/>\nwrites:<\/P><br \/>\n<BLOCKQUOTE>[T]he horror of what is shown in the photographs cannot be separated from<br \/>\nthe horror that the photographs were taken &#8212; with the perpetrators posing, gloating,over their<br \/>\nhelpless captives. &#8230; If there is something comparable to what these pictures show it would be<br \/>\nsome of the photographs of black victims of lynching taken between the 1880&#8217;s and 1930&#8217;s, which<br \/>\nshow Americans grinning beneath the nake mutilated body of a black man or woman hanging<br \/>\nbehind them from a tree.<br \/>\n<P>The lynching pictures were in the nature of photographs as trophies &#8212; taken by a<br \/>\nphotographer in order to be collected, stored in albums, displayed. The pictures taken by<br \/>\nAmerican soldiers in Abu Ghraib, however, reflected a shift in the use made of pictures &#8212; less<br \/>\nobjects to be saved than messages to be disseminated, circulated.<\/P><\/BLOCKQUOTE><br \/>\n<P><\/P><br \/>\n<P>But read her essay. Sontag goes beyond that small modulation (photos to be circulated rather<br \/>\nthan merely saved), beyond adducing pornography, video games and, yes, racism, as component<br \/>\nparts of the Abu Ghraib torture orgy. She goes finally to &#8220;the backlash&#8221; against showing more of<br \/>\nthe photographs, to the so-called &#8220;assault&#8221; on the American public by showing them, to the<br \/>\n&#8220;legalistic turn&#8221; of declaring them &#8220;classified&#8221; information, to the claim of &#8220;outrage&#8221; that the<br \/>\nphotographs will &#8220;undermine American military might,&#8221; which is no more than &#8220;the continuing<br \/>\neffort to protect the administration and cover up our misrule in Iraq.&#8221; <\/P><br \/>\n<P>None of this is new. We&#8217;ve heard or read all this before. But, as we said, it&#8217;s an essay by<br \/>\nSusan Sontag, which makes it thoughtful and elegant. And though it&#8217;s derivative, it&#8217;s<br \/>\nessential.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"<p>More essential reading: Susan Sontag has Sunday&#8217;s&nbsp;cover story of&nbsp;The New York Times Magazine. It&#8217;s a thoughtful, elegant essay called &#8220;The Photographs Are Us.&#8221;&nbsp; Here&#8217;s a reminder that at Straight Up,&nbsp;blogged on the fly (on the gadfly?) &#8212; we sometimes log on while still rubbing sleep from our eyes &#8212; our timing seems right even if [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-700","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-bi","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/700","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=700"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/700\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=700"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=700"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=700"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}