Afterwar(d)s

Posted on July 8, 2015 by Derek Gregory

I’ve been working my way through the proofs of ‘The natures of war’, in which (among other things) I try to show that soldiers are not only vectors of military violence but also victims of it. My analysis fastens on the Western Front in the First World War, Northern Africa in the Second World War, and Vietnam – the final draft is under the DOWNLOADS tab and the published version should be up on the Antipode website later this month – but I hope it will be clear to readers that the implications of this claim , and the others in the essay, extend into our own present. They also intersect with my current research on casualty evacuation from war zones, 1914-2014.

So I’ve been interested in three recent contributions that detail the aftermath of war for those who fight them.

First, Veterans for Peace UK have worked with Darren Cullen to produce a short film, Action Man: Battlefield Casualties [see the clip above] in an attempt, as Charlie Gilmour explains over at Vice,

‘to show the shit beneath the shine of polished army propaganda. Featuring PTSD Action Man (“with thousand-yard stare action”), Paralysed Action Man (“legs really don’t work”) and Dead Action Man (“coffin sold separately”)…’ [see also my post on ‘The prosthetics of military violence‘]

In keeping with the project’s authors, Charlie insists – I think properly – that many of those who were sent to Afghanistan from the UK were child soldiers (and here I also recommend Owen Sheers‘ brilliant Pink Mist for an unforgettable portrayal of what happens when boys who grow up ‘playing war’ end up fighting it: see also here and here). As the project’s web site notes:

The UK is one of only nineteen countries worldwide, and the only EU member, that still recruits 16 year olds into its armed forces, (other nations include Iran and North Korea). The vast majority of countries only recruit adults aged 18 and above, but British children, with the consent of their parents, can begin the application process to join the army aged just 15…

It is the poorest regions of Britain that supply large numbers of these child recruits. The army has said that it looks to the youngest recruits to make up shortfalls in the infantry, by far the most dangerous part of the military. The infantry’s fatality rate in Afghanistan has been seven times that of the rest of the armed forces.

A study by human rights groups ForcesWatch and Child Soldiers International in 2013 found that soldiers who enlisted at 16 and completed training were twice as likely to die in Afghanistan as those who enlisted aged 18 or above, even though younger recruits are, for the most part, not sent to war until they are 18.

You can find another thoughtful reflection on child soldiers by Malcolm Harris over at the indispensable Aeon here. He doesn’t include the British Army in his discussion, but once you do you can see that the implications of this passage extend beyond its ostensible locus (Nigeria):

But can a child truly volunteer to join an army? Even when they enlist by choice, child soldiers do so under a set of constraining circumstances. UNICEF makes the choices sound easy: war or dancing, war or games, war or be a doctor. No rational child would pick the former for themselves, and that’s posed as evidence that their freedom has been taken from them. But when the choice is ‘soldier or victim’, voluntarism takes on a different meaning.

Second, moving across the Atlantic and providing an extended riff on the ‘thank you for your service’ gesture, the latest issue of New Left Review includes an essay by Joan Wypijewski, ‘Home Alone‘, that describes the journey home faced by many US veterans. She begins by putting David Finkel‘s compelling book in context:

The term ‘Thank You for Your Service’ developed early on in the long wars. Like ‘Support the Troops’, it was a way for a sheltered people to perform unity. In towns across America yellow ribbons, yellow lawn signs, balloons and car decals sprouted like team colours on game day. War would be a sport, the people spectators, and ‘Thank you for your service’ the high-five to combatants after quick and decisive victory. When that proved a vain hope, team spirit settled into the rhythms of commerce. ‘Support the Troops’ appeared the way ‘Buy American’ once had—a slogan on shop windows, billboards, bumper stickers. War was an enterprise, security its product, the people consumers, the soldiers trained workers and ‘Thank you for your service’ a kind of tip. As the enterprise (though hardly the business) failed, the signs faded, sometimes replaced by an image of folded hands, ‘Pray for Our Troops’. War had become a problem, the soldiers exhausted, the people clueless and ‘Thank you for your service’ a bit of empty etiquette, or a penance. By the time Finkel was writing [his book was published in October 2013], what remained among civilians was a desire to move on, and among soldiers, bitterness. ‘They wouldn’t be fucking thanking me if they knew what I did’, many would say, in almost exactly the same words.

Joan works her way through Finkel’s account, and then turns to Laurent Bécue-Renard’s Of Men and War, a documentary film – five years in the making, and the second instalment in a trilogy devoted to a ‘genealogy of wrath‘ – of Trauma Group sessions at a treatment centre in the Napa Valley:

‘What we have is embarrassing as shit’, a thick, tight young white man says in the Trauma Group. ‘You feel small—you feel defective.’ And so it goes, and so men trained for toughness talk of being weak and scared and monstrous, or just diligent. Of working in Mortuary Affairs: ‘breaking the rigour down’ to get the corpse of a 19-year-old who killed himself flat enough for a body bag, or untangling the remains of a group of faceless soldiers burned in a truck who are fused ‘like a bunch of rope’. They talk of their dreams, of their frightened wives. Maybe she moved out and got a restraining order before he came home, or maybe she has the divorce papers but is holding back as long as he’s getting help. ‘I have no clue what it’s like to be a woman married to a man twice your size and that’s lethal, in the military, and takes his rage out on you—someone that’s supposed to love you’, a former medic says. He is slim, white, deer-like. You don’t know his war story yet, and you don’t know when you’ll find out, if you’ll find out, but you listen as he and one after another after another deals with a world of pain. And maybe men balk, and maybe they storm out of the room, and maybe Gusman, whom you’ve also never really met but who is always there, has to remind them that ‘being a hostage to the war zone is not a life’. You follow them out of the room, taking smokes, meditating, visiting their wives or parents, calling on locals, trying to be well or pass for well, knowing they’re not. You watch their children doing typical childlike things, running, laughing in a high-pitched scream, and you feel anxious for everyone in the room. You itch to get back to the Trauma Group and, amazingly, don’t feel like a voyeur, because this isn’t war porn; this is the shit, as they say.

It isn’t beautiful or horrible, it just is. And you don’t like all of these people, but that isn’t the point. They are all struggling to be human again, and you have to ask yourself if you know what that means.

Not so much dressing but ‘addressing their wounds is a revolution’, Bécue-Renard insists, and you can see – literally so – what he means. Joan’s commentary ends with other, perhaps also revolutionary reflections. In America, she argues,

… there has been no serious debate on, let alone demand for, a universal draft as a democratic check against offensive war. We talk against empire, but are beneficiaries of the imperial state’s professional and technological adjustments to the anti-war movement’s past victories. We talk about the invisible draft but, perhaps encouraged by the bravery of Iraq Veterans Against the War, still hope that soldiers whose food, clothing, shelter, families and identity depend on the job of war-fighting will mutiny en masse. We talk, from time to time, about the culture of abuse in basic training and on military posts, but are silent on the regimens of discipline that are being hyper-enforced in anticipation of downsizing, in other words layoffs. And for the one thing the military, however twistedly, provides—belonging, solidarity, a sense of honour and family-feeling as against loneliness—we have no alternatives at all.

Finally, Duke University Press has announced that Zoe Wool‘s book, After War: the weight of life at Walter Reed, will be out soon:

In After War Zoë H. Wool explores how the American soldiers most severely injured in the Iraq and Afghanistan wars struggle to build some kind of ordinary life while recovering at Walter Reed Army Medical Center from grievous injuries like lost limbs and traumatic brain injury. Between 2007 and 2008, Wool spent time with many of these mostly male soldiers and their families and loved ones in an effort to understand what it’s like to be blown up and then pulled toward an ideal and ordinary civilian life in a place where the possibilities of such a life are called into question. Contextualizing these soldiers within a broader political and moral framework, Wool considers the soldier body as a historically, politically, and morally laden national icon of normative masculinity. She shows how injury, disability, and the reality of soldiers’ experiences and lives unsettle this icon and disrupt the all-too-common narrative of the heroic wounded veteran as the embodiment of patriotic self-sacrifice. For these soldiers, the uncanny ordinariness of seemingly extraordinary everyday circumstances and practices at Walter Reed create a reality that will never be normal.

Here are two of the endorsements:

“Hollywood films and literary memoirs tend to transform wounded veterans into tragic heroes or cybernetic supercrips. Zoë H. Wool knows better. In her beautifully written and deeply empathic study of veterans of Iraq and Afghanistan at Walter Reed, Wool shows us the long slow burn of convalescence and how the ordinary textures of domestic life unfold in real time. An important and timely intervention.” — David Serlin, author of Replaceable You: Engineering the Body in Postwar America.

“This brilliant and absorbing ethnography reveals how the violence of war is rendered simultaneously enduring and ephemeral for wounded American soldiers. Zoë H. Wool accounts for the frankness of embodiment and the unstable yet ceaseless processes through which the ordinary work of living is accomplished in the aftermath of serious injury. After War is a work of tremendous clarity and depth opening new sightlines in disability and the critical politics of the human body.” — Julie Livingston, author of Improvising Medicine: An African Oncology Ward in an Emerging Cancer Epidemic.

Soldier exposures

Posted on February 15, 2013 by Derek Gregory

News from Zoe Wool of a rich and ambitious series of short image-essays she has curated for Public Culture‘s Public Books (‘a curated monthly review devoted to spirited debate about books and the arts’) under the title Soldier exposures and technical publics. Here’s an excerpt from the introduction:

In this collaborative visual essay, edited by Zoë H. Wool, we consider an idiosyncratic assemblage of pictures of American soldiers. These are not iconic images that “speak for themselves” but less conventional ones that suggest both the technical expertise involved in producing and managing war’s violence and the vulnerability of soldiers at the heart of war. In considering these images as technical, we highlight the many forms of war’s material and technical expertise, expertise that is often disarticulated from the social, political, and ethical fields on which war equally relies.

The images range from grainy World War I–era photographs, recovered from cluttered archives, to digitally generated contemporary images that depict the results of war’s embrace of high technology. Their material qualities reflect something of their intended publics: the curled edges of a Vietnam War snapshot tucked away inside a shoebox (Jauregui); the high resolution of an advertisement that speaks to contemporary soldiers’ special knowledge of explosive force and special role as savvy gear consumers (MacLeish); the directed gaze of soldiers whose bodies bear the weight of innovations in prosthetics and weapons systems, both of which technologically extend the body (Serlin, Lawrie, Kaplan); and the precise composition of images used to display soldiers’ special prowess to medical or technical experts or else to cultivate such technical readings in a broader public (Linker, Masco, Wool).

In presenting these images, we take seriously Walter Benjamin’s warning that photographs unmoored from the historical arrangements of life that produce them are politically hazardous capitulations to fashion, “arty journalism” that “cannot grasp a single one of the human connexions in which [they] exist.” And so we inscribe each image with a caption, anchoring it in a world of human connections and gendered and racialized bodies. These captions rearticulate the relationship between technical expertise and ethics, reconnecting the matériel and personnel of war with the social and political worlds they entail.

These captions describe a material history of soldiers’ bodies whose themes recur across time. The unromantic vulnerability of the soldier on which war making depends (Jauregui, MacLeish, Masco); the technological and prosthetic interventions to which soldiers are subject and from which soldierly life itself is inseparable (Lawrie, Masco, MacLeish, Serlin, Wool); the forms of display involved in making soldiers into certain kinds of biopolitical subjects (Lawrie, Linker, Serlin, Wool); the way war remaps geographic and affective terrain (Kaplan, Masco); and the intimate relationship between place and feeling that war also exposes, binding homelands and homefronts to death zones while producing spaces of homosocial or national intimacy (Jauregui, Linker, Masco).

As we address these un-iconic soldier images to the politics of displaying vulnerable bodies, or rendering them resilient, we also incur collateral effects. In maintaining our focus on images of American soldiers, for instance, we contribute to the ignorance of other kinds of war-bound bodies and lives, from civilians to foreign belligerents to kinds of American soldiers—notably women—who are not pictured here. By displaying medical images of men whose names and lives we do not know, we contribute to the disabling history of what poet Eli Clare has called “gawking, gaping, and staring.” We are not innocent of these consequences. In pointing them out we show only how inseparable they are from many ongoing conversations about aesthetics, ethics, and the American warscape.

By focusing on some of the nooks and crannies of the American warscape, rarified spaces of technical expertise, we hope to incite new and shared modes of reading and recognizing martial imagery and new approaches to thinking about how pictures of soldiers are made and made meaningful in some ways and not others at specific material, social, and ethical conjunctures.

The portfolio includes these images and brief commentaries:

— David Serlin: How to Be Yourself in Public

— Zoë H. Wool: This Is a Picture of an Injured Soldier

— Beth Linker: Beware of the One-Armed Soldier

— Beatrice Jauregui: Vulnerability of Soldier Bodies in the Vietnam War

— Joseph Masco: Atomic Soldiers

— Caren Kaplan: Drone Sight

— Paul Lawrie: Race and Rehabilitation in Post–World War I America

— Kenneth MacLeish: In the Blink of an Eye

There are also many other sparkling contributions on the Public Book site…

‘Imagination bodies forth…’

Posted on January 7, 2013 by Derek Gregory

Following from my previous post, I’ve been thinking a lot about bodies recently, and for two reasons.

The first is the workshop on War & Medicine I attended in Paris just before Christmas. It became very clear early on how difficult it is to determine when military violence comes to an end; Mary Dudziak has recently written about this in her War time: an idea, its history, its consequences (Oxford, 2012), largely from a legal point of view (and not without criticism), but it’s worth emphasising that the effects of violence continue long after any formal end to combat. This ought to be obvious, but it’s astonishing how often it’s ignored or glossed over.

Think, for example, of the continuing toll of the conflicts in Afghanistan and Iraq, recovered in detail by Catherine Lutz (who was part of the workshop) and her colleagues at the Costs of War project, which shows how ‘the human and economic costs of these wars will continue for decades’.

Or think of the toxic environments produced by ecological warfare, by the use of depleted uranium in munitions, and by the continued deployment of land mines and cluster bombs – what Rob Nixon brilliantly calls the ‘slow violence’ produced by ‘ecologies of the aftermath’ (more on this in a later post):

‘In our age of depleted-uranium warfare, we have an ethical obligation to challenge the military body counts that consistently underestimate (in advance and in retrospect) the true toll of waging high-tech wars. Who is counting the staggered deaths that civilians and soldiers suffer from depleted uranium ingested or blown across the desert? Who is counting the belated fatalities from unexploded cluster bombs that lie in wait for months of years, metastasizing into landmines? Who is counting deaths from chemical residues left behind by so-called pinpoint bombing, residues that turn into foreign insurgents, infiltrating native rivers and poisoning the food chains? Who is counting the victims of genetic deterioration – the stillborn, malformed infants conceived by parents whose DNA has been scrambled by war’s toxins?’

(If you think we are winning the war on land-mines, especially in you are in Canada, read this).

These two contributions – and the conversations we had in Paris – rapidly displaced the lazy assumption of a politics of care in which the left mourns civilian casualties and the right military casualties. That there is a politics of care is clear enough, but there’s also a political geography: that’s written in to the biopolitical projects that are contained within so many late modern wars, and in Paris Omar Dewachi and Ghassan Abu-Sitta described how ‘care’ has become a means of controlling populations in wars in Iraq, Libya and Syria – a rather different sense of ‘surgical warfare’ from the one we’re used to – with states like Saudi Arabia and Qatar also funding the transfer of thousands of injured people from the war zones for treatment in hospitals in Egypt, Jordan and Lebanon.

And two brilliant medical anthropologists, Ken Macleish and Zoe Wool, brought with them vivid, carefully wrought ethnographies of injured soldiers’ bodies. The American soldier may appear a figure of unprecedented invulnerabilty and astonishing violence – what Ken calls a figure of ‘technological magic’ produced by a ‘phantasmagoric technological empowerment of the body’ – but, as he and Zoe reminded us, soldiers are not only ‘the agents and instruments of sovereign violence’ but also its objects. Their studies took me to places I’ve never been and rarely thought about, but I’ve been thinking about two other dimensions of their work that combined to produce my second reason for thinking about bodies.

One is the historicity that is embedded in this process. Ken paraphrased Walter Benjamin‘s observation in the wake of the First World War – ‘the technological progress evident in modern warfare does not ensure the protection of the human body so much as it subjects it to previously unimaginable forms of harm and exposure’ – and linked it to John Keegan‘s claim in The face of battle that the military history of the twentieth-century was distinguished by the rise of ‘”thing-killing’ as opposed to man-killing weapons’ (the example he had in mind was heavy artillery). The other is the corporeality of the combat zone. Ken again: ‘You need not only knowledge of what the weapons and armor can do for you and to you but a kind of bodily habitus as well – an ability to take in the sensory indications of danger and act on them without having to think too hard about it first.’ In an essay ‘On movement’ forthcoming in Ethnos, Zoe develops this insight through an artful distinction between carnality and corporeality (which may require me to revise my vocabulary):

‘The analytics of movement is a turning toward emergent carnality, flesh, and the way it is seen and felt; proprioception and those other senses of sight, sound, touch, and taste through which a body and a space enact a meaningful, sensible articulation; visceral experiences forged and diagnosed through the trauma of war which also exceed its limits.’

And so to my second reason for thinking about bodies. Later this month I’m giving a lecture in the University of Kentucky’s annual Social Theory series. The theme this year is Mapping, and my title is ‘Gabriel’s Map‘. This is a riff on a phase from William Boyd‘s novel, An Ice-Cream War, that has haunted me ever since I first read it:

‘Gabriel thought maps should be banned. They gave the world an order and reasonableness it didn’t possess.’

The occasion for the remark is a spectacularly unsuccessful British attempt to defeat a much smaller German force in November 1914 at Tanga in German East Africa; the young subaltern, Gabriel, rapidly discovers that there is a world of difference between what Clausewitz once called ‘paper war’ – a plan of attack plotted on the neat, stable lines of a map – and ‘real war’. What I plan (sic) to do is arc back from this exceptionally brutal campaign – which lasted two weeks longer than the war in Europe – to the western front. The two were strikingly different: the war in Africa was a war of movement and manoeuvre fought with the most meagre of military intelligence, whereas the central years of the war in Europe were distinguished by stasis and attrition and involved an extraordinary effort to maintain near real-time mapping of the disposition of forces.

The point here is to explore a dialectic between cartography and what I think I’m going to call corpography.

The first of these has involved working out the intimate relationship between mapping and aerial reconnaissance (what the Royal Flying Corps called ‘shooting the front’). There is a marvellously rich story to be told here which, among other things, shows that the stasis of trench warfare was Janus-faced: it was produced by a myriad of micro-movements – advances and withdrawals, raids and repulses – whose effectiveness depended not on the fixity of the map at all but on its more or less constant updating (which in turn means that this capacity isn’t the unique preserve of twenty-first century ‘digital navigation’). So here I’ll show how a casaced of millions of trench maps and aerial photographs was produced, distributed and then incorporated into the field of action through copies, re-drawings, sketches and annotations by front-line soldiers. I have wonderful, telling examples, like this one (look carefully at the annotations):

But I also want to show (as the map above implies: all those “full of dead” annotations) how, for these men, the battlefield was also literally a field: a vile, violent medium to be known not only (or even primarily) through sight but through touch, smell and sound: what Santanu Das memorably calls a ‘slimescape’ which was also a soundscape. This was a close-in terrain that was known through the physicality of the body as a sensuous, haptic geography:

‘Amidst the dark, muddy, subterranean world of the trenches, the soldiers navigated space … not through the safe distance of the gaze but rather through the clumsy immediacy of their bodies: “crawl” is a recurring verb in trench narratives, showing the shift from the visual to the tactile.’

This was a ‘mapping’ of sorts – as Becca Weir suggests in ‘“Degrees in nothingness”: battlefield topography in the First World War’, Critical Quarterly 49 (4) (2007) 40-55 – and there is a dialectic between cartography and corpography.

I’ve been working my way through a series of diaries, memoirs and letters to flesh out its performance in detail, but the most vivid illustration of the entanglements of cartography and corpography that I’ve found – and that I suspect I shall ever find – is this extract from a ‘body density map’ for part of the Somme. This shows the standard trench map above a contemporary satellite photograph; each carefully ruled square is overprinted with the number of dead soldiers found buried in the first sweep after the war (between March and April 1919)…

I won’t say more at present because I need to keep my powder dry for Kentucky, but I hope it will be clear by the end that, even though I’ll be talking about the First World War, I will also have been talking about the wars conducted in the shadows of the Twin Towers and the Pentagon.