Wishful Seeing

On War-nography and Radical Willfulness

"Some people will do anything to keep themselves from being moved," Susan Sontag writes in Regarding the Pain of Others, and who would know better? This slender Miss Intellectual Manners book ranges between a disapproving aesthetics of war and a stern etiquette of detachment, part rebuke to the stubborn obliviousness of the affluent Western elite and part assiduously disconnected symptom thereof: "How much easier, from one's chair, far from danger, to claim the position of superiority." No one has assumed the position of moral-cultural arbiter with more icy tenacity, though Regarding the Pain of Others softens her stance even as it warns against the perils of empathy. Revising themes from On Photography and "The Pornographic Imagination," flipping through the history of combat portraits and death-camp archives, Sontag takes a deep breath and delivers a good stiff lecture on "the iconography of suffering" destined to give the ladies of the Spring Lake garden club much introspective food for thought.

That iconography has always been her bread and butter—the lives of the Nietzschean saints, the stations of the aesthete's cross—and her list of exemplary sufferers has invariably skewed toward the rarefied, the philosophically privileged. Regarding the Pain of Others sincerely attempts to extend its consideration beyond the "sublime" thinking of specialized figures like Simone Weil and George Bataille to the ordinary victims of warfare: those anonymous casualties whose photographed bodies make them the inadvertent poster children, women, and men of modern carnage. Sontag seeks to get beyond mere representation here, or behind it, to the reality such images claim to represent—she comes out in favor of flesh-and-bloody real life and against slick notions of all-enveloping spectacles which "[universalize] the viewing habits of a small, educated population." Yet there is an arm's-length, white-gloves mentality present that keeps backsliding into the language of art appreciation, easily diverted into questions of genteel sensibility, reducing history to inane euphemisms like "the inveterate fame or notoriety of the Jewish people." (Famed, it would seem, for their partial extermination, notorious for "the identification of Israel as an apartheid state," the Jews are treated in this passage with Swiss neutrality: Walking a fine line to offend neither Holocaust survivors nor Holocaust deniers, it doesn't directly equate Zionism with Nazism while circumspectly not disputing those who would.) Combining rationalist polemics and political reticence, Regarding the Pain of Others aims to get past the self-absorbed voyeurism which devours the new war-nography, but its own class-bound gravitas tugs it relentlessly in the direction of a handbook on How to be a Good (that is to say: Moral) Spectator at the Atrocity Exhibition.

This inherent dissociation is one of the subjects of Paul Berman's engaging, delusion-busting history primer Terror and Liberalism. It's not only a matter of how "the party of the right-thinking" (as Sontag mockingly refers to her own kind) end up as unfazed spectators to monstrosity, but how through a tangle of rationalist denial and radical fantasy they see only as much of reality as they care to see. And they have so often become a captivated audience to the unspeakable in the bargain—"good-hearted and intelligent people" seduced by the romance of totalitarianism, millenarian scorched-earth revolution, and genocidal pathologies. Using Camus's The Rebel as a departing point, Berman charts how the cultural song of murderous absolutism—the proxy music of terror, with over-the-rainbow paradise as its hook—went from the 19th century's underground noise to the top of the 20th's charts. The big beat of death-instinct drums made for the century's ultimate crossover hit—moving contagiously from the fascist right to the communist left, then from the secular West to the Islamist East. So much for both "the clash of civilizations" and "the end of history." No, Berman says, there is a unifying impulse here, however much it may change external ideologies, fanatical religions, or local chameleon color. At base, it is a blind, seething, irrationalist pursuit of the unattainable: perfect freedom or perfect subservience (if in such doctrines we can even tell them apart), a liberation whose means or ends (again, nigh unto indistinguishable) are rooted in an ideal of total annihilation.

Regarding the commentaries of QUTB: Terror and Liberalism author Paul Berman
photo: Joshua Lucas Farley
Regarding the commentaries of QUTB: Terror and Liberalism author Paul Berman


Regarding the Pain of Others
By Susan Sontag
Farrar, Straus and Giroux, 131 pp., $20
Buy this book

Terror and Liberalism
By Paul Berman
W.W. Norton, 214 pp., $21
Buy this book

Terror and Liberalism spends a good deal of time pondering the commentaries of Sayyid Qutb, who Berman calls "the single most influential writer in the Islamist tradition," a brilliant theologian, philosopher, and pedagogue whose radical-conservative critique of liberal modern life is "wonderfully original and deeply Muslim, looked at from one angle; and, from another angle, merely one more version of the European totalitarian idea." One area they intersect is of course the Jewish Question, in which the song of the exterminating angel remains the same: "The Koran points to another contemptible characteristic of the Jews: their craven desire to live, no matter at what price and regardless of quality, honor, and dignity." (As Berman quotes one of Franco's generals—"Viva la muerte!") Now this has become the tune of deterritorialized fascism, with suicide bombers giving new meaning to the concept of "the body without organs," like contestants fastidiously choreographing their moment of video glory on the world stage of Martyr Search or Palestinian Idol.

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