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June
24, 2003
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Victory
at Little Big Horn Day
June 25, 2003
"Success is Not
the Issue Here"
Waiting
for the Whole Narrative to Unfold
By
ADAM FEDERMAN
Q:
You said you know a lot more now. Do you mean by that you know
a lot more of what you don't know?
Dayton:
No, we know a lot more --
Q:
If you know a lot more, you would have found these things [WMD];
is that right?
Dayton:
Remember, my mission is not only WMD, but it's all kinds of things.
And we know more about what people think they saw, we know more
about where people were, we know more about -- again, it's a
beginning process. We've put a lot of pieces together on this.
And so, yes, of course we know more. We've interviewed a lot
of people. Hasn't always been successful? Of course, hasn't been
successful in many cases, but that's not the issue here.
Briefing on the Iraq Survey Group Friday
May 30, 2003. (Briefing on the Iraq Survey Group. Participating
were Stephen A. Cambone, under secretary of defense for intelligence,
and Army Maj. Gen. Keith W. Dayton, director for operations,
Defense Intelligence Agency.)
The war against Iraq waged here in America is
part of a larger narrative, the latest chapter being the war
on terror, which began in earnest after the attacks of September
11. The real story has been so obfuscated, buried beneath a myriad
of lies and facts, official documents and dossiers that it has
become difficult to separate the fictional narrative from the
truth, especially if one is not inclined to dig beneath the surface.
The American Heritage Dictionary defines
narrative as "A narrated account; a story." As a global
audience the world has been offered a narrative, a story that
outlines why the United States is waging war against a poor,
defenseless, and occupied nation. The narrative is really quite
simple and not all that inventive given the range of power and
willingness to manipulate information that the current administration
has. Something more along the lines of Paul Verhoeven's prescient
film Starship Troopers (based on the novel by Robert A. Heinlein)
would have been more exciting and given sci-fi fans a reason
to support the war. Certainly U.S. intelligence could have come
up with evidence revealing the existence of brain sucking bugs
inhabiting the far off deserts of Iraq, hiding in underground
caves, and plotting to take over the world. Indecipherable photos
could have been used to support the cause along with some intercepted
noises indicating a plot to sabotage the United States. Hell,
they could have just used footage from the movie. Most likely
no one at the UN had seen it anyway.
That's basically what Saddam was doing
we are told. Preparing to wage war against the United States
in some way. So the narrative goes. Saddam is a despot. He possesses
weapons of mass destruction and he's willing to sell them or
give them away to terrorist organizations that are fundamentally
opposed to his own existence. That would be kind of like the
United States giving biological and chemical materiel to Iraq?
Back to the narrative. Not only does
this evil tyrant possess such weapons but he has used them on
his own people. This is a powerful narrative device showing that
even if Saddam doesn't have weapons of mass destruction now,
he did at one time and is capable of acquiring them again. The
United States has nuclear weapons and is willing to use them.
This is also a powerful narrative device. But of course we would
only use nuclear weapons to promote freedom and to save lives
like we did when we devastated Japan, razed two of its cities,
and killed hundreds of thousands of people. But that's not really
part of the narrative, unless perhaps you're interested in revisionist
history.
The final piece of the narrative, tacked
on toward the end, is the liberation of Iraq. It is a key element
to the whole story because without it the whole enterprise would
collapse (Like that big statue of Saddam Hussein pulled down
by all those Iraqi people). If it became known that the United
States had no interest in the Iraqi people we would be forced
to return to the less heroic elements of the narrative like weapons
of mass destruction, that can't be found, and Saddam Hussein
the despot, who also can't be found.
But liberating Iraq is proving to be
more difficult than the war planners thought and it is becoming
increasingly difficult for them to justify a war based on lies
and backed up with documents and "intelligence" that
are plainly false. They will do their best to hold on to the
narrative, to add new chapters, new characters, and information
privy up until now only to the authors. But as each installment
is defrauded the author's credibility diminishes.
The narrative becomes tired and heavy.
It no longer flows. It should have ended sooner but now there
are some unexpected plot twists, an epilogue, and an appendix.
Maybe even cliff notes and a couple of study guides to clarify
some of the inconsistencies.
But the audience is also tired. Some
are burning their books, furious that an author could so mislead
them. Others are demanding that it be rewritten. And still others
read on hoping that the last page reveals some unknown truth.
The coup de grace? What will it be? What
piece of information, what reason for waging war will be issued
next?
Whatever it is we can rest assured that,
as our National Security Adviser recently stated, "we will
put together this whole picture and when the whole story is told,
we will know how Saddam Hussein managed to deceive the world
in the length of time that he did."
Adam Federman
can be reached at: adam@incamail.com
Weekend
Edition Features
Alexander
Cockburn
My Life as a Rabbi
William
A. Cook
The Scourge of Hopelessness
Standard
Schaefer
The Wages of Terror: an Interview with R.T. Naylor
Ron Jacobs
US Prisons as Strategic Hamlets
Harry
Browne
The Pitstop Ploughshares
Lawrence
Magnuson
WMD: The Most Dangerous Game
Harold
Gould
Saddam and the WMD Mystery
David Krieger
10 Reasons to Abolish Nuclear Weapons
Avia
Pasternak
The Unholy Alliance in the Occupied Territories
CounterPunch
Summer Reading:
Our Favorite Novels
Todd Chretien
Return to Sender: Todd Gitlin, the Duke of Condescension
Maria
Tomchick
Danny Goldberg's Imaginary Kids
Adam Engel
The Fat Man in Little Boy
Poets'
Basement
Guthrie, Albert & Hamod
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