In wartime the press is always part of the problem. This has been true since the Crimean War, when William Howard Russell wrote his account of the charge of the Light Brigade and invented the profession of the modern war correspondent. When the nation goes to war, the press goes to war with it. The blather on CNN or Fox or MSNBC is part of a long and sad tradition.
The narrative we are fed about war by the state, the entertainment industry and the press is a myth. And this myth is seductive. It empowers and ennobles us. It boosts rating and sells newspapers–William Randolph Hearst owed his fortune to it. It allows us to suspend individual conscience, maybe even consciousness, for the cause. And few of us are immune. Indeed, social critics who normally excoriate the established order, and who also long for acceptance and acclaim, are some of the most susceptible. It is what led a mind as great as Freud’s to back, at least at its inception, the folly of World War I. The contagion of war, of the siren call of the nation, is so strong that most cannot resist.
War is where I have spent most of my adult life. I began covering the insurgencies in El Salvador, where I spent five years, then went to Guatemala and Nicaragua and Colombia, through the first intifada in the West Bank and Gaza, the civil wars in Sudan and Yemen, the uprisings in Algeria and the Punjab, the fall of the Romanian dictator Nicolae Ceausescu, the Gulf War, the Kurdish rebellions in southeastern Turkey and northern Iraq, the war in Bosnia, and finally Kosovo. I have been in ambushes on desolate stretches of Central American roads, shot at in the marshes of southern Iraq, imprisoned in Sudan, beaten by Saudi military police, deported from Libya and Iran, captured and held prisoner for a week by the Iraqi Republican Guard during the Shiite rebellion following the Gulf War, strafed by MIG-21s in Bosnia, fired upon by Serb snipers and shelled for days in Sarajevo with deafening rounds of heavy artillery that threw out thousands of deadly bits of iron fragments. I have painful memories that lie buried and untouched most of the time. It is never easy when they surface.
War itself is venal, dirty, confusing and perhaps the most potent narcotic invented by humankind. Modern industrial warfare means that most of those who are killed never see their attackers. There is nothing glorious or gallant about it. If we saw what wounds did to bodies, how killing is far more like butchering an animal than the clean and neat Hollywood deaths on the screen, it would turn our stomachs. If we saw how war turns young people into intoxicated killers, how it gives soldiers a license to destroy not only things but other human beings, and if we saw the perverse thrill such destruction brings, we would be horrified and frightened. If we understood that combat is often a constant battle with a consuming fear we have perhaps never known, a battle that we often lose, we would find the abstract words of war–glory, honor and patriotism–not only hollow but obscene. If we saw the deep psychological scars of slaughter, the way it maims and stunts those who participate in war for the rest of their lives, we would keep our children away. Indeed, it would be hard to wage war.
For war, when we confront it truthfully, exposes the darkness within all of us. This darkness shatters the illusions many of us hold not only about the human race but about ourselves. Few of us confront our own capacity for evil, but this is especially true in wartime. And even those who engage in combat are afterward given cups from the River Lethe to forget. And with each swallow they imbibe the myth of war. For the myth makes war palatable. It gives war a logic and sanctity it does not possess. It saves us from peering into the darkest recesses of our own hearts. And this is why we like it. It is why we clamor for myth. The myth is enjoyable, and the press, as is true in every nation that goes to war, is only too happy to oblige. They dish it up and we ask for more.