26
Architectures ot Enmity
fr om the early twentieth century which, as many observers remarked,
was mobilized through a quintessentially cinematic gaze.26 But it was a
cinematic gaze with a difference. It was of course intensied; it dissolved
the boundaries between fact and ction, and projected horror beyond
endurance. But most of all, through the confusion of raw, imediate,
and unedited images, through the replays, jump-cuts and freeze-frames,
through the jumbling of amateur and professional clips, through the
juxtaposition of shots from multiple points of view, and through the
agonizing, juddering close-ups, this was a cinematic gaze that replaced
optical detachment with something much closer to the embodied, cor
poreal or "haptic" gazeY It was by this means - through this medium -
that the horror of September 11 reached out to touch virtually everyone
who saw it.
I was deeply affected by what I saw that morning. So much so, that
it was three months before I could begin to formulate a response - this
response - and many more before I completed these essays. Even then,
I have not addressed the intimate consequences of these attacks for the
residents of New York City and Washington and those elsewhere in the
world who lost family or friends in these appalling acts of mass murder.
And since I do not dwell on the loss of 3,000 innocent lives from some
80 countries, on the thousands more who were seriously injured or trau
matized, on their relatives, companions, and friends whose own lives were
turned upside-down by grief, or on the heroic efforts of rescue workers
on the ground, I need to say as clearly as I can that this is not because
I have any wish to minimize the horror of what happened. Far from it.
Equally, in making September 11 the fulcrum of my discussion I do not
mean to marginalize the terrors that have ended or disgured the lives of
countless others elsewhere in the world. As Samantha Power pointedly
remarked, in 1994 Rwanda "experienced the equivalent of more than
two World Trade Center attacks every single day for one hundred days."
When America "turned for help to its friends around the world" after
September 11, she continued, "Americans were gratied by the over
whelming response. When the Tutsi cried out, by contrast, every country
in the world turned away.,,28 To make such comparisons and connections
is not to diminish the enormity of what happened in New York City and
Washington, nor is it to still what novelist Barbara Kingsolver described
as that "pure, high note of anguish like a mother singing to an empty bed."
Writing in the Los Angeles Times on September 23, she expressed some
thing of what I mean like this:
Architectures of Enmity
[Ilt's the worst thing that's happened, but only this week. Two years ago,
an earthquake in Turkey killed 17,000 people in a day ... and not one of
them did a thing to cause it. The November before that, a hurricane hit
Honduras and Nicaragua, and killed even more, buried whole villages and
erased family lines, and even now people wake up there empty-handed. Which
end of the world shall we talk about? Sixty years ago, Japanese airplanes
bombed Navy boys who were sleeping on ships in gentle Pacic waters. Three
and a half years later, American planes bombed a plaza in Japan where men
and women were going to work, where schoolchildren were playing, and
more humans died at once than anyone thought possible. Seventy thousand
in a minute. Imagine. Then twice that many more, slowly, from the inside.
There are no worst days, it seems. Ten years ago, early on a January morn
ing, bombs rained down from the sky and caused great buildings in the city
of Baghdad to fall down - hotels, hospitals, palaces, buildings with mothers
and soldiers inside - and here in the place I want to love best, I had to watch
people cheering about it. In Baghdad, survivors shook their sts at the sky
and said the word "evil." When many lives are lost all at once, people gather
together and say words like "heinous" and "honor" and "revenge," pre
suming to make this awful moment stand apart somehow from the ways
people die a little each day from sickness or hunger. They raise up their com
patriots' lives to a sacred place - we do this, all of us who are human -
thinking our own citizens to be more worthy of grief and less willingly risked
than lives on other soil.29
27
In one sense, Kingsolver is surely right. There is something distasteful about
cherry-picking among such extremes of horror. And yet in another sense,
as I think she recognizes in her last sentence, each one of the dreadful events
she describes - and those she doesn't, including the genocides in Nazi
occupied Europe, Cambodia, Iraq, Rwanda, and Bosnia that preoccupy
Power - was understood in dierent ways and produced different
responses in differept places. This is why an analysis of the production of
imaginative geographies is so vitally important. As Stephen Holmes puts
it in his review of Power's indictment of indierence (at best inattention)
to so many of these contemporary genocides, the distinction between "us"
and "them" has consistently overshadowed any distinction between
"just" and "unjust." Gilbert Achcar describes this more generally as a "nar
cissistic compassion," rooted in a humanism that masks a naked ethno
centrism: a form of empathy "evoked much more by calamities striking
'people like us,' much less by calamities aecting people unlike US.,,30
My purpose has thus been to try to understand what it was that those
events in New York City and Washington triggered and, specicafly, how