On Twitter
- Nobody's shoes squeak as loudly as mine. I must walk wrong. 3 days ago
- Correct twice a day. http://t.co/QPRKHe16 3 days ago
- First pair of glasses in more than 10 years arriving in a few weeks. I am weirdly, dorkily excited about it. 1 week ago
- More updates...
Posting tweet...
-
Recent Posts
- Suit for Hire
- I Know What Conservatives Like. I Know What Liberals Want.
- They Live
- Lordy Lordy.
- Walter Isaacson, Steve Jobs and the Wrong Question
- And My Dream of a Better iPod Takes Another Blow
- If the Beowulf Poet Translated the Ewoks’ Song from Return of the Jedi
- The Unelucidated Facebook Tragedy
Category Archives: Essays
Torture
Having finally gotten around to reading Sam Harris‘ The End of Faith, I was surprised to discover a lengthy digression on torture as relates to the prosecution of what we still called, in those benighted days, the War on Terror.
It would be inaccurate, I think, to say that Harris stood in favor of torture as such. However, he did argue powerfully that our revulsion to torture is essentially hypocritical, extending as it does from a sort of moral blind spot. Harris’ argument is too lengthy to quote directly, so I will summarize it as fairly as I can.
- We are resigned to what we call in warfare “collateral damage,” meaning the unintended destruction of non-military targets and the injury and death of civilians.
- The toll in pain and death exacted by collateral damage is as gruesome as that of any other wartime horror: men, women and children are blinded, crippled, mutilated or killed, or suffer thirst, starvation and sickness in the wake of attacks that destroy local infrastructure and services.
- The pain and suffering of the collaterally damaged is, in fact, qualitatively of little to no difference to that suffered under torture.
- The preceding premises being true, one cannot morally object to one but not the other; anyone willing to accept collateral damage in wartime has no basis from which to declaim torture as immoral.
Harris made this argument to illustrate the limitations and biases inherent in our moral reasoning, particularly the human tendency to respond to individual suffering while remaining relatively unmoved by the suffering of a great many people. There is a component of torture — perhaps the way in which it is reducible in our imaginations to a dichotomy of victim and tormentor, the latter holding the former utterly in his power — that seems immediate and visceral. Yet Harris, while admitting even he found his own conclusions unsettling, was not simply arguing as the devil’s advocate. Those who have read The End of Faith will know that Harris has a very large axe to grind against Islamic fundamentalism; unlike most thinkers of essentially leftist bent, Harris has no compunction about denouncing Islam as a religion of ignorance, hatred and cruelty, nor does he balk at describing its war on the West in essentially neoconservative terms: that is, as a clash of civilizations, a zero-sum game in which compromise or rapprochement is out of the question.
As a person repulsed by the torture that has been carried out by my government ostensibly on my behalf, I was brought up short by Harris’ arguments. Had I been too quick to give in to my instinctive reaction of horror and outrage? How can one argue with any conviction that slamming a man’s head repeatedly into a wall is worse than, say, burning a little girl with napalm while denuding the forests surrounding her village? Is one of these things really worse than the other?
Upon reflection, I came to the conclusion that yes, one of these really is worse than the other. The reason lies in an argument that Harris used earlier in his book but forgot, or omitted, to apply to the torture debate. That reason is intention.
The End of Faith spends considerable time discussing of Noam Chomsky, who has argued that the United States routinely commits atrocities of the magnitude of September 11 and that we are, at best, no worse than the terrorists who struck back at us; in fact, our arrogance and self-righteousness actually make us worse. Harris has no time for this facile moral equivalency. Citing Chomsky’s example of the U.S. bombing of the Al-Shifa pharmaceutical laboratory in 1998 (which Chomsky claims doomed hundreds of thousands to die of otherwise treatable illnesses), Harris points out an obvious, and significant, distinction. The U.S. attack came as part of an effort to destroy sources of biological and chemical weapons. It was not the United States’ intention — nor was it even in its strategic interest — to destroy a vital source of medicine for the civilian population. The September 11 hijackers chose precisely the opposite tactic, one designed to cause the maximum possible civilian destruction, and concomitantly, the maximum amount of horror, grief and revulsion.
It may be — and is — cold comfort for thousands of bereaved Sudanese to be told, essentially, “We didn’t mean it when we consigned your children to die of malaria and dysentery.” But as Harris points out, intention forms the very foundation of ethics. And ethics, I might add, forms the very foundation of justice. The modern justice system is based on the understanding that motivation is the key to understanding crime and properly administering punishment or redress. Two people might be brutally run over by cars on the same night; one may be the victim of an enraged ex-husband, the other of a sudden and fatal impulse to run into the street after a dropped $20 bill. Although the result in these two situations is the same, as is the sense of loss experienced by the bereaved families, they are not the same crime, and there is no ethical argument for treating them as such.
This is the difference between a girl blinded in a bombing and a man driven irreparably mad by physical and psychological torture. We go out of our way to ensure that the bomb will not injure the girl, continually improving the accuracy and precision of our weapons to ensure only strategically significant targets are destroyed. The purpose of any attack in war is to limit or destroy the enemy’s capacity to fight back, not to murder and terrorize civilians; indeed, the latter effect might well work against the former. Exceptions can, of course, be cited throughout the history of our country and our world, from repugnant aberrations such as My Lai to deliberate wholesale destruction, such as Sherman’s March. But as a general principle of warfare, the axiom is sound: attacking military targets and avoiding civilian ones is the most effective way to wage war.
This is sound military strategy, but it is also a sound moral position, one held by generals as much as by civilians on the home front. We maintain a distinction between civilian and military targets because it is a crucial way of maintaining our humanity in the midst of the harrowing pressures of war. War may be hell, but it is a hell we have tempered through mutually agreed-upon rules for civilized conflict: capturing instead of slaughtering troops who surrender; refraining from the use of chemical or biological weapons; honoring neutrality; and affording all those within a war zone a measure of basic human dignity. Civilized nations do not sell prisoners into slavery, prostitute them or hold them for ransom. And civilized nations do not torture.
Torture deprives human beings of their humanity in a way that mere imprisonment, even in harsh conditions, does not. It is not the randomness of flying shrapnel or the error of shelling the hospital instead of the munitions factory. It is an act of calculated cruelty, a deliberate stripping away of the mental and psychological resources that are the bequest of civilization itself. There is a very good reason why torture strikes such a deep chord of horror and unease within us, why most of the Americans who insist on the benefits of this practice still can’t bring themselves to drop the mealy-mouthed euphemism “enhanced interrogation techniques.” Only a sociopath — or one who has completely excluded the enemy from their moral universe through racism, nativism or simple abject fear — can remain unmoved by the spectacle of one human being reducing another to a state of infantile helplessness through the application of pain. It is simply not who we are.
This is not, as Harris maintains, the result of some facile moral blindness. The capacity to treat even our enemies with a modicum of respect is the quality that, to be blunt, makes us better than them; it is a component of our cultural identity far more valuable than any transient strategic advantage that torture might confer. (That there is little evidence that torture confers any such advantage is beside the point.) We as Americans may not be — may never have been — as exceptional as we claimed. But we entered this conflict with a clear moral advantage, one which I, at least, clung to over the last turbulent eight years. I believed that the ideals which my country maintained even in war were worthy ideals, and that we could never truly be defeated as long as we held fast to them.
Now my country is afraid — so afraid that it couldn’t shed those ideals fast enough, as long as their loss granted a feeling of safety and control; exercising our power and our cruelty gave us the heady rush of charging into battle full-bore, all guns ablaze, redeeming ourselves for the torpor that allowed the attacks to succeed in the first place. Too few people stopped to ask if this crack-cocaine rush of bogus courage was worth the price; and while many people still insist ours is the greatest nation on earth, they are at greater and greater pains to explain why.
Posted in Essays, Politics
Tagged ethics, morality, Noam Chomsky, Sam Harris, terrorism, torture, war, war on terror
Leave a comment
Merry Christmas, Music Biz. Love, the Beatles.
If you’re the type who would care, you probably know: the long-promised remastered versions of the Beatles’ albums will finally be released this year on September 9. (“Number 9″ … yes, we get it. Even better if they had come out in October — i.e., the one after 9/09.)
I’ve been following this story — what very little there has been of it to follow — for about three years now, ever since the Apple Computer/Apple Corps trial, when the secretive Neil Aspinall was forced to admit in court proceedings that he was, in fact, supervising a total revamping of the group’s catalog. Questions that had been fruitlessly batted back and forth are now finally answered. Yes, the mono Sgt. Pepper will come out; in fact, all of the albums will be available in mono (except for Abbey Road, which was never released that way). Yes, the music has been cleaned up in a way that, we are assured, adds the punch expected of contemporary rock while still being true to the original mixes’ ambience. Yes, even the original, oddball stereo mixes of Help! and Rubber Soul will come out, which most people will likely not bother to listen to more than once. And while no details of packaging have been released, we know we can get all these goodies in two fell swoops: all of the stereo albums and all the mono albums will be available in two separate box sets.
It was that last detail that really brought it home to me, that illuminated what should have been a patently obvious fact: they are going to sell a shitload of discs.
I think the reason I never bothered to think of it is that parallel to the tantalizing prospect of remastered Beatles tracks has run the story of another, long-delayed, Beatles milestone, the availability of the tracks for online purchase and download. Every imminent Macworld Expo or iPod announcement brought a fresh crop of rumors that this, finally, would be the one where Jobs could make the announcement that, so we all believe, he has been so eager to make: that the world’s greatest band was coming to the world’s biggest music retailer.
Except, honestly, I never gave much of a shit whether or when the Beatles went digital. Five years ago, before iTunes had cemented its grip on the digital music market, the Fabs’ presence might have made a difference; had one of the upstart services like MTV managed to lure them with a sweetheart deal, it would have given iTunes a serious black eye and, possibly, some worthy competition. As it is, despite some grumbling in the Beatles’ camp about not seeing eye-to-eye with Apple on prices, there is no viable third-party alternative for the Beatles in going online. Amazon, despite running a very nice digital download service, barely has double-digit market share, and going with an also-ran service would cheapen the Beatles’ image enough to not be worth whatever concessions the band could get. If the Beatles don’t go with iTunes, they’ll open their own storefront; right now I’d say it’s even money either way.
But whether the Beatles sell their music through iTunes or from their own servers doesn’t really matter, anymore than whether you buy your CDs at Borders or Best Buy. What really counts — all that really counts — is the music. People are going to want it. Just as the Anthology albums did ten years ago, it will give people an excuse to fall in love with the Beatles again — and it’s going to be a pretty damn good excuse. The albums will be impeccably packaged, with liner notes, photos (the inserts on the current CDs are comically paltry) and even QuickTime documentaries on the making of each album. They are also, from everything I’ve heard so far, going to sound great. Everyone is going to want these.
The L.A. Times quoted a Beatles expert named Martin Lewis:
“There will be cynics who will point quite accurately to the vanishing CD marketplace,” Lewis said. “There’s no doubt it will not do as spectacularly well as had they reissued them in 2001 in the wake of the ’1′ [hits compilation] album, which has sold 31 million copies worldwide and 8 million in the U.S. But any cynics who say the Beatles have missed the boat will be wrong. This will sell exceedingly well and will be a huge boost to the recorded music industry.
“And if the CD is going to die,” he said, “the Beatles are going to give it a superb wake.”
I think Lewis is wrong and right. I don’t think releasing the albums in the wake of 1 would have helped them sell better. Part of the reason 1 was such a hit was that it was the first high-profile Beatles release people had had a chance to buy in a long time. Releasing the albums after that would likely have led many to think that, actually, 1 was enough for the time being.
But in his second point, Lewis is dead on. EMI and Capitol are going to have a very nice Christmas this year thanks to the Beatles. And I think his point about the death of the CD is a good one — perhaps better than he is aware.
The reissue of the Beatles catalog is, in a way, the ultimate shoe-drop, the event that the music buying public has been unconsciously awaiting since shortly after the CDs first came out (and earned criticism for their mono mixes and overall un-dynamic sound). The first Beatles CDs were issued 23 years ago, and except for some low-key reissues here and there (the White Album anniversary release, Let It Be … Naked), the CDs on store shelves today are the exact same ones that were on the shelves at Sam Goodies or Tower or Virgin back in the late 80s.
I remember how, once the Beatles were out, CDs seemed to have arrived, beginning in earnest their irrevocable shift from yuppie status symbol to a true format for the masses. (I’m old enough to remember when people used to be ridiculed for buying and listening to CDs. Well, at least for buying and listening to Brothers in Arms.) Now we’re witnessing the tail end of that cycle. People are growing more accustomed to the realization that music is information; audiophiles still have the option to buy their black shiny discs, but the fetishization of the music delivery vehicle, whether the vinyl LP, the cassette tape or the CD, is ending. When every CD you buy goes straight onto your iPod anyway, it’s only natural to wonder why you’re bothering with the shiny disc in the first place.
But the Beatles, I predict, will be a special case. The remastered Beatles CDs will be the last music that people will actually want to own on CD. (A friend of mine, in fact, told me they were “probably the last CDs I will ever buy.”) They may not realize it consciously, but buying the Beatles on CD one last time will serve as a tacit farewell to an entire era, when we helped change the economics of the music industry by happily buying our favorite music again and again, each time with a promise of improved fidelity, of more sumptuous packaging — of somehow being closer to the music we cared about. Cynics have always derided this, seeing the industry’s treadmill of reissues as nothing more than a ruse for parting nostalgic music lovers from more of their money. But there was always more to it than that, wasn’t there? Re-buying an album in a better edition was a small act of devotion, a conscious renewing of ties with a work of art that gave your life a little extra meaning. Loading up your player with the stereo mix of Pet Sounds or the 5.1 version of Dark Side of the Moon was both thrilling and familiar, a batch of impending surprises you knew you were going to love. All that for, what, 12 bucks? A bargain.
So it will be with the Beatles. People will once again savor the experience of viewing the new packaging and photos, reading the new liner notes, hearing the opening notes of “I Saw Her Standing There” or “Help!” or “Back in the U.S.S.R.” as though for the first time. What ensuing CD purchase, what classic album reissue, can live up to that? Once the definitive Beatles CDs are safely on the shelf, why bother with music on shiny discs again?
On coolness and Beatles
I recently resurrected an old piece I wrote for Pop-Culture-Corn called “How Cool Is Paul McCartney?”. The original feature, now lost somewhere deep in the belly of a Google backup drive, found four writers each making the case for a particular Beatle as the apogee of Cool. I was asked to represent McCartney because of my avowed fondness for his work; I accepted because I was, and still am, sick of the sneering attacks music critics have been aiming at him since roughly five minutes after John Lennon’s death.
And also, truth be told, because I have an unfailing sympathy for the uncool. And McCartney, no matter how cool his various achievements, will always, personally, be uncool. As many a sardonic wag has remarked, The Beatles are dying in order of coolness. Ringo’s next.
Reading my essay over now, there are a few things I would change: I’d tone down the Yoko bashing, for one thing. (The creepy, unhealthy psychodrama of the Lennon/Ono marriage rests more with the groom than the bride.) For another, I actually think I could’ve made my case stronger. Forget for a moment the fact that, in 1966, McCartney was among the handsomest, most interesting and most sought-after (read: cool) figure in arguably the most culturally significant city in the world at that moment. He went where he wanted, slept with whom he wanted, did whatever the fuck he pleased; no one would turn down a chance to trade places with Paul McCartney. But forget all that and just stick to what you can quantify. McCartney was the first of the Beatles to write his own songs, the first member of the fledgling Quarrymen who actually knew how to play. (Lennon played the guitar with banjo chords until “Paul taught [him] to play properly.”) Unlike Lennon, who before meeting Ono deeply mistrusted anything avante garde, McCartney eagerly absorbed the musique concrete of Stockhausen or Glass, and was the first of the Beatles to rip the eraserhead out of his tape recorder and begin making tape loops in his home studio. Without McCartney, “Tomorrow Never Knows” would have consisted of John Lennon banging out C on his acoustic guitar, and the world might have been spared “Revolution #9″ altogether. It was McCartney who pushed the Abbey Road engineers to overdrive the trebly guitars of “Nowhere Man” and who had the idea of recording his bass through another amplifier instead of a conventional microphone. Critical opinion has swung between either Sgt. Pepper or Revolver as the Beatles’ masterpiece — and both are dominated by Paul, from behind the desk if not always behind the mike. This is something beyond cool; there are maybe a dozen people in 20th century popular music who can claim achievements of this rank.
And yet.
I will defend McCartney’s creativity and experimentalism to the end. Yet my heart-of-hearts favorite Beatle?
John.
John Lennon was a deeply wounded man, a man for whom braggadoccio and cruelty served as a mask for an insecure boy who never stopped resenting all the grownups who thought he was worthless — and who he must have at least occasionally suspected were right. Lennon’s earliest efforts at “honest” songwriting were exercises in formulaic self-pity, no more or less fundamentally honest than the likes of “I Want to Hold Your Hand.” But somewhere around 1965, Lennon figured out how to tap his inner conflicts without resorting to sad-clown poses. He presented the tangle of his psyche with all its contradictions intact, grounding his songs in uncertainty, hesitancy, confusion. Lennon’s finest songs — “She Said She Said,” “Strawberry Fields Forever,” “I Am the Walrus” — are snapshots of a tumbling psyche in mid-churn.
The usual critical line is that McCartney, by contrast, was shallow, preferring to pander with a smiling face and a thumb perenially turned upward. That’s an oversimplification. McCartney aired his share of emotional dirty laundry, most famously in “We Can Work It Out,” positively Lennonian even before his partner added its rather impatient middle eight. But McCartney, ever the forward-thinking optimist, tended to present his emotional dilemmas post-facto, their tensions already resolved. If Lennon’s songs were the work of a skeptic, McCartney’s were the product of a believer. Think of “Let It Be” and its famous opening lines:
When I find myself in times of trouble
Mother Mary comes to me
No sooner is the crisis introduced than the solution arrives. Lennon could have handily written an entire song about finding himself in times of trouble — indeed I seem to recall a song called “Help” written in 1965 or so — but for McCartney, it is merely the precursor for the dramatic uplift, the consolation that is the song’s true message. “Hey Jude” of course is an anthem of consolation, a plea for optimism that is both cannily calculated and wholly heartfelt. Both “Hey Jude” and “Let It Be” are gorgeous songs, and the former is among the Beatles’ very finest, but unlike Lennon’s finest, they begin after the crisis has taken place, not in the middle of it.
So I will always admire Paul’s amazing abilities, his drive, and his belief that the ordinary and the positive are worth celebrating. But it’s John who, briefly and wonderfully, speaks to me.