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Boundless War
operations over, columnist Adrian Hamilton had already despaired at
what he called "the obscenity of bickering over death and torture." "The
shaken inhabitants of Baghdad are being called on to stream out on the
streets to prove the pro-war lobby right, to show that this was a war of
liberation," he wrote, "while anti-war commentators have hung on to every
sign of continued resistance as proof that war is a disaster." Hamilton cap
tured the dialectics of the war with precision:
For every mother mourning the loss of a relative who disappeared under
Saddam's tyranny there is now one frantically searching and praying that
her son was not one of those killed by the might of Western armour ght
ing a poorly equipped, badly trained army. We can say what we like about
what this proves or doesn't. But then we can afford to. It's not our coun
try and we're not caught in the ring line.101
And so I try to proceed with caution. The war on Iraq was, as I have
said, no lm. But seeing it in those terms -for a moment -helps to explain
why the occupation of Iraq turned so rapidly into such a nightmare. "The
buildup to this war was so exhausting, the coverage of the dash to Baghdad
so telegenic and the climax of the toppling of Saddam's statue so dramatic,"
Friedman suggested, "that everyone who went through it seems to prefer
that the story end just there.,,
1
0
2 This isn't just a smart-ass remark.
When Bush announced the end of major combat operations in Iraq, he
did so in front of a huge banner proclaiming "Mission accomplished."
Washington's script required the war to end not only in triumph but also
in acclamation. Its very title - Operation Iraqi Freedom - proclaimed
American victory as Iraqi liberation. Anything else was to become a
series of out-takes, what Rumsfeld glibly called the "untidiness" left on
the cutting-room oor.
When Bush surrounded himself with the trappings of Hollywood to
declare victory in "the Battle ofIraq," he projected America as superpower
and superstar. This aestheticization of politics (and violence) played well
with many in his domestic audience. Its space of constructed visibility had
two blind spots, however, that worked to undermine the very scenario it
sought to promote. First, it clearly suggested that the Superhero who had
prevailed in the war would prevail aerwards. And yet in Iraq public order
virtually collapsed, public services continued to be degraded and disrupted,
and reconstruction faltered. As temperatures soared in the intense summer,
one Iraqi, furious at the continuing shortages of electricity and water, turned
Boundless War 217
Bush's vainglorious rhetoric against him: "They are superpowers, they can
do anything they want." He spoke for many others who denounced what
they saw as American indifference as much as impotence. "They brought
thousands of tanks to kill us," one Baghdad shopkeeper complained. "Why
can't they bring in generators or people to x the power plants? If they
wanted to, they could." The dissonance between the powers to which Bush's
rhetoric laid claim and the powers exercised by his forces on the ground
was considerable. The anger, frustration, and disappointment of ordinary
Iraqis spilled over into the streets and exposed the looking-glass fantasy
of many of the pronouncements made by the Coalition Provisional Author
ity from inside the vast Republican Palace once occupied by Saddam.
1
0
3
Secondly, Washington's scenario envisaged Iraq as an empty screen on which
America could project its own image (with the aid of proxies retued from
exile in the United States). "We dominate the scene," announced the US
civilian administrator, L. Paul Bremer, "and we will impose our wl on
this country.
,,
1
0
4 And yet Iraqis are not extras in a silent movie - mute
victims of Saddam, sanctions, and smart bombs -but educated people with
their own ideas, capabilities, and agencies. They also know the long, bitter
history of Anglo-American entanglement in Iraq (rather better than their
American and British screenwriters), and they are perfectly capable of dis
tinguishing between liberation and occupation. "Don't expect me to buy
little American ags to welcome the new colonists," Salam Pax wrote, recall
ing the British occupation from the First World War. "This is really just
a bad remake of an even worse movie." As Mary Riddell tartly observed,
"it was always implausible that a nation of erce anti-colonialists would
follow the Pentagon productions script.
,,
1
0
5 I want to consider each of these
blind spots in turn, and show how the spaces they limned became super
imposed in wars of resistance (the plural is deliberate) that the main par
ties to the coalition were unable and unwilling to acknowledge: ordinary,
everyday acts of deance and, eventually, a complex and increasingly vicious
guerrilla war against the occupation.
When the arrival of American troops was not greeted with unbridled
joy, Friedman was nonplussed: "We've gone from expecting applause to
being relieved that there is no overt hostility." His explanation? The Iraqi
people were "in a pre-political, primordial state of nature. For the moment,
Saddam has been replaced by Hobbes, not Bush.,,
1
0
6 Few observers equaled
Friedman's condescension, but many others thought the surge of looting
that followed the collapse of the Iraqi regime was the understandable result
of sheer material deprivation: