The Dead Baby War: Fisking Max Fisher

Cross posted by Richard Landes at Augean Stables under the full title: “The Dead Baby War: Reflections on Palestinian Thanatography and Western Stupefication”.

Max Fisher, formerly of the Atlantic Monthly, now the WaPo’s “foreign policy advisor,”  just posted a reflection on the war of images in the current Gaza operation. In it he makes every effort to be “even-handed.” And in the end, comes up empty-handed. A remarkable example of how intelligent people can look carefully at evidence and learn nothing. If I didn’t know better (which I don’t), I might think he was doing some “damage control,” if not for Hamas (in which case, presumably it would be unconscious), then for the paradigm that permits him not to acknowledge Hamas’ character.

The Israeli-Palestinian politics of a bloodied child’s photo

Posted by Max Fisher on November 16, 2012 at 3:17 pm

 

Left, a journalist for BBC Arabic holds his son’s body. Center, an emergency worker carries an Israeli infant from the site of a rocket strike. Right, Egypt’s prime minister and a Hamas official bend over a young boy’s body. (AP, Reuters, Reuters)

Wars are often defined by their images, and the renewed fighting between Israel and Gaza-based Hamas has already produced three such photographs in as many days. In the first, displayed on the front page of Thursday’s Washington Post, BBC journalist Jihad Misharawi carries the body of his 11-month-old son, killed when a munition landed on his Gaza home. An almost parallel image shows an emergency worker carrying an Israeli infant, bloody but alive, from the scene of a rocket attack that had killed three adults. The third, from Friday, captures Egyptian Prime Minister Hisham Kandil, in his visit to a Gazan hospital, resting his hand on the head of a boy killed in an airstrike.

Each tells a similar story: a child’s body, struck by a heartless enemy, held by those who must go on. It’s a narrative that speaks to the pain of a grieving people, to the anger at those responsible, and to a determination for the world to bear witness. But the conversations around these photos, and around the stories that they tell, are themselves a microcosm of the distrust and feelings of victimhood that have long plagued the Israeli-Palestinian conflict.

Studiously even-handed. One of my favorite memes: “both sides…”

The old arguments of the Middle East are so entrenched that the photos, for all their emotional power, were almost immediately pressed into the service of one side or another.

Actually, there’s a huge difference between the sides. Israel has, over the years, shown enormous reluctance to use the photos of their dead and wounded to appeal for public sympathy; whereas Palestinians have actually created victims in order to parade their suffering in front of the public. Indeed, Palestinian TV revels in pictures of the dead (so much so, that when my daughter wanted to help me with some logging of PLO TV footage, I had to decline lest she be brutalized by the material). They systematically use the media to both arouse sympathy from an “empathic” West, and to arouse hatred and a desire for revenge among Arabs and Muslims. Nothing uglier.

Israel, on the other hand, studiously avoids pictures of the dead, and only a shocking incident like Ramallah can break those taboos. They were so reluctant to exploit these images that, even at the height of the suicide campaign (2002-3) they refused to release pictures of the dead victims. The two cultures could not be more different on this score, and yet, Fisher has no problem finding his symmetry.

To obfuscate this fundamental difference with a pleasing even-handedness symbolizes the literal stupefication of our culture that necessarily accompanies the politically correct paradigm (PCP1), founded on a dogmatic cognitive egocentrism. It forces one not to see critical information. It’s as if we were under orders to not notice everything that a good detective should pick up on, as if we were required to assist the clean-up crews that want to frame the story to their advantage. In such a world, the protagonists of the Mentalist, Lie to Me, Elementary, CSI, House, are not merely unwelcome, they are banished.

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